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  • titleIn Front of the Camera
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  • descriptionA booklet listing the events and films for the series In Front of the Camera
• descriptionA booklet listing the events and films for the series In Front of the Camera
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    • tagsscreenings,halfmoon theatre,east london,acting,gangs,performance,discussions,theatre,workshops,jubilee,west side story,up the junction,that sinking feeling,michele citron,dererk jarman,claire mussell,r. flaherty,mike leigh,all about eve,gilda,robert bresson,nick burton,anthea kennedy,alfred hitchcock,jan worth,sally potter,v. neubauer,roger arguile,andrzej wajda
    • titleIn Front of the Camera
    • subtitleA booklet listing the events and films for the series In Front of the Camera
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    • copyrightFour Corners
    • creditsLondon Borough of Tower Hamlets, Greater London Arts Association, British Film Institute, Bethnal Green Adult Institute, Tower Hamlets and City of LondonYouth Office
    • relatedPoster 0001169 Booklet 0002710
    • locationAldgate East, London, UK
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    • pdf_textSOUND into W EDNESDAYS Acting and the presentation of young people in gangs and groups on screen TH URSDAYS • FRIDAYS • SATURDAYS films.,,.films,...performance.,..discussion..,.slides.,,.films,.„.films SHOWS DEVISED BY FOUR CORNERS CINEMA WORKSHOP GROUP __________________workshop co-ordinators: Paul Hallam and Wilfried Thust A programme of film events organized and presented by Joanna Davis and Mary Pat Leece. AFTERNOONS January 16 and 23 only, 2:00pm Changing Nights A Four Corner Workshop stage/film show. Though anyone can attend these performances the show is mainly intended for secondary school audiences, please check with the box-office for availability of tickets. Around a narrative structure the show goes into some of the basic elements of filmmaking and what affects acting in film - including sound, sets and design, selection frame, and not least, budgets. It also looks at films (using extracts from Jubilee, West Side Story, Up The Junction, etc.) that feature young people in groups and the different kinds of film exhibition aimed at young audiences. The event includes young actors on stage (live performance), sound recordings, video and both super-8 and 16mm film presented as separate elements in shifting kinds of projection. It would aim to show various kinds of film-making from the commercial through to more accessible and straightforward forms - though pointing to the struggles involved in using even the simplest means effectively. The action moves from central London and commerdial cinemas, through the streets, mucking around in front of a t.v. shop in East London to the local youth club. It follows a group of teenagers on their nights out, their reactions to film, being ^ ^ m e ^ ^ n d ^ E b n ^ ia k m ig ^ J ji^ jp e ^ ^ ^ r^ ^ ^ h e ir^ jn o r^ ^ e n e ra ^ ^ rte re ^ s a n d c o n c e rn s ^ ^ ^ ^ ^ EVENINGS Wednesday, January 16, 7:30pm Jubilee Punk acting with a gang of women - Bod (Elisabeth 1st reincarnated), Amyl Nitrate, Mad and Crabs on the rampage in Deptford. A screening with Derek Jarman, the director of the film, and some of the actors around. Tapes, slides, and production stills...a look at the film and audience reaction since the first screening in 1978. Plus: an excerpt from one of the few films concerned with girls in gangs or groups, the stylishly acted Belles of St. Trinians! Wednesday, January 23, 7:30pm West Side Story New York and Tower Hamlets in the Half Moon. On one side of the theatre a screening of West Side Story, and on the other young local actors and our own sets and back projections of East London. The evening would be basically around looking at sets and settings in relation to acting. As our material will be silent it is possible to simply watch West Side Story...but you can watch both or move between the two. Wednesday, January 30, 7:30pm Film Clips Acting in relation to film styles, techniques and vastly different budgets. Young people in documentary, British 'realist' film, advertising, industrial or training film, community and independent work...with a round up from the critics. Plus: variations on a scene from one of the extracts - parallel screenings of (a) the original (b) staged version (c) 'cheap' super-8 film (d) video, black & white. Wednesday, February 6, 7:30pm That Sinking Feeling A recently completed independent film made in Glasgow. A thriller around youth unemployment and crime using local young people/actors in what has been called a 'street-wise fairy tale'. We are arranging for Bill Forsyth (the director) and some of the actors to come down to London for the screening. Plus: For, With, By Young People - dialogues between the young people we work with and the actors from That Sinking Feeling, ourselves and Bill Forsyth, with related taped interviews and projection. Each week we have chosen one particular question relating to the use of actors, or non-actors, in front of the camera. The films have not been programmed in isolation from each other or from us, the programmers, and at least once each week we will present readings, tapes, slides, etc. as background information, support, or opposition to the films, many of which you will be unfamiliar with. Wherever possible we have invited the film-makers to come along and on several of the evenings actors from the films will be involved in formal demonstrations or informal discussions. In order to draw together the main issues of the whole event we are producing a booklet which will be available in the theatre from the first week. WEEK ONE - FILMING REAL LIFE Thursday, January 17, 7:30pm Daughter Rite, by Michele Citron USA, 1978, 50mins. A 'success' at Edinburgh Film Festival ’79, this film raises issues of improvisation, subjectivity, and 'truth'. Alternating sections of narrated home movies with cinemaverite scenes between two grown sisters, it examines mother/daughter and sister/ sister relationships. Win, by Clare Mussell GB, 1977, 46mins. A mother talking to her daughter, remembering her youth, commenting on her life now. Win is the mother; the film-maker Clare Mussell is the daughter. CLARE MUSSELL will discuss the role her mother took in the making of Win. Friday, January 18, 7:30pm Nanook of the North, by R. Flaherty USA, 1920/21, 86 mins., silent Referred to as the 'father of documentary', Flaherty once said, "Sometimes you have to lie. One often has to distort a thing to catch its true spirit." CINEMA ACTION, a socialist film-making group who have been making documentary films for eleven years, will discuss Flaherty's tradition and show something of their own. Saturday, January 19, 7:30pm Bleak Mcments, by Mike Leigh GB, 1971, llOmins. Beyond Naturalism. Mike Leigh constructed Bleak Moments through a long process of improvisation with a team of actors who were ultimately involved with him in the 'writing' of the script. MIKE LEIGH will be present to discuss his methods of working with actors. WEEK TOO - THE STAR AND HOLLYWOOD MELODRAMA JANE CLARKE who is researching (the position of women in) Hollywood melodrama will discuss her work with the audience. In readings and slides, Jane and members of Four Corners will give biographical details of the lives of BETTE DAVIS and BARBARA STANWYCK in opposition or in support of their image as 'star'. Thursday, January 24, 7:30pm Stella Dallas, dir. King Vidor USA, 1937, 106mins. Barbara Stanwyck in the title role gives one of the best performances of her career , in a film which is often sited as one of the finest examples of melodrama. "...woman is the unconscious victim of a rigidly structured society..."-C. Viviani. Friday, January 25, 7:30pm GENERAL INFORMATION Tickets: (Bookings available) Single ticket - £1.60. Weekly Season - £4.00, Complete Season (excluding afternoon shows) £14.00. Plus £.25 Half Moon Theatre Membership. Afternoon shows - £1.00. Reductions for QAPs, claimants and children. HOW TO GET TO THE HALF MOON THEATRE. TUBES: BUSES: Aldgate and Aldgate East. 10, 15, 23, 25, 40, 235. IT'S EASY.... All About Eve, dir. J. Mankiewicz USA, 1950, 138mins. A melodrama in which Bette Davis could be seen a s playing herself more closely than i in any of her other films. contd.... Saturday. January 26, 7:00pn Gilda, dir. Charles Vidor USA, 1946, 109mins. Rita Hayworth set up as a femme fatale in the film noir tradition, but her own status as a major star complicates this definition. plus An Early Andy Warhol Film PETER GIDAL will introduce the Warhol film and speak 'against acting'. WEEK THREE - PLACING THE ACTOR Thursday, January 31, 7:30pm Au Hasard Balthazar, dir. Robert Bresson Fr/Sweeden, 1966, 95mins "The Intricacy emerges from the ambition to use a donkey, Balthazar, as the central character without making the film either a fable or an allegory." -P. Adams-Sitney. Introduction: Bresson's formal abstraction and rejection of professional actors. Friday, February 1, 7:30pn The Reichstag; Fire, by Nick Burton and Anthea Kennedy; GB, 1976, 46mins. Based on a reconstruction of the circumstances surrounding the firing of the Reichstagg in Berlin, 1935. Actors and Narrators are used formally, chiefly to read original documentation of the incident and the trial that followed. THE KULESHOV GROUP will present a studio rehearsal. Number Seventeen, dir. Alfred Hitchcock GB, 1932, 64mins. Hitchcock - disregarding conventions of realism and logical plot development.________ Saturday, February 2, 7:30pm Taking A Part, by Jan Worth GB, 1979, 45mins. A documentary about the experience of two girls who both came to London at an early age, from working class background, one of whom has a child. Both involved in prostitution, one who decides to give it up, one who probably never will. - J. Worth. Thriller, by Sally Potter GB, 1979, 33mins A mystery film in which the heroine, Mimi, pieces together the facts of her own death in the opera. La Boheme. SALLY POTTER and ROSE ENGLISH, who played Mimi, will be present to discuss the film. WEEK FOUR - FIUVM AKER AS SUBJECT - P E R FO R M - ACTOR Thursday, February 7, 7:30pm Animation For Live Action, by V. Neubauer GB, 1978, 25mins. The film-maker recreates herself as an animated figure and the events of the film are a series of encounters between the animator and the animated. Hone Movie, by Roger Arguile GB, 1974, 23mins. Family film sequences taken between 1934-74, re-shot and re-edited. KEITH FRAKE will present a programme of his own ’home movies', a form he extends to examine family relationships and to place home movies historically. ________________ Friday, February 8, 7:30pm WOMEN CNLY ARE INVITED TO THIS EVENING A programme of films by Joanna Davis, Lis Rhodes, Susan Stein, and Jeannette Iljon. Annabel Nicolson will be doing a performance especially worked out for this evening. These women have been meeting informally over the past year to discuss their work. They would like, at this time, to present a programme to an all women audience. Saturday, February 9, 7:30pm Everything For Sale, dir. Andrzej Wajda Poland, 1968, 99mins. Intimate subjectivity rare in commercial film. Fictional, yet at the same time autobiography of Wajda himself, his relationship to Zbigniew Cybulski (cult star of Wajda’s earlier film Ashes and Diamonds) and his attitude to his^art^^^^^^^^^^^ Four Corners receives financial assistance from the London Borough of Tower Hamlets, the Greater London Arts Association and the British Film Institute. In addition, the cinema workshop group is assisted by the Bethnal Green Adult Education Institute and the Tower Hamlets and City of London Youth Office.
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      • namePolitics of Photography
      • essay_titleTowards a New Politics of Photography
      • essay_authorFrances Whorrall-Cambell
      • essay_extract<p style="text-align: justify;">In the first issue of <em>Camerawork </em>Jo Spence sought to explore what she called ‘the politics of photography’. For Spence, images had an ideological content, expressed through a ‘series of visual signals and short cuts’ which needed to be unpicked by reading the context from which the photographs sprung and the intentions of their creator.</p>
      • essay_content<p>The question of how photographs might be political, and how one might decode (or even produce) these messages, dogged <em>Camerawork </em>throughout its existence. This thorny issue was never fully resolved, and the contradictory responses raised within the magazine’s pages track the shifting attitudes buffeting British photography during the 1970s and 80s. </p> <p><meta charset="utf-8" /></p> <p style="text-align: justify;">In her article, Spence proposes that photography’s visual shorthands create a kind of limited understanding: producing ‘stereotypes’ of the world around us. The camera might not lie, but it flattens; draining shades of nuance from the situation to render an issue black and white. In this proposition, Spence brings together an interest in signs developed by the recently-fashionable study of semiotics, and an understanding of photography’s ability to divide the world into ‘types’ present since the Victorian era.</p> <p style="text-align: justify;">Spence’s concern is the photograph as re-presentation: a regurgitation of isolated appearances with no attempt at critique. She posits that the mimetic quality of photography works in the interest of the capitalist media, who commodify these fragments of truth in order to nullify their potential to disrupt false consciousness. Spence was reacting to a world in which photojournalism was still prominent, with the photo-essay delivering the news in illustrated magazines and papers. The proximity of these often-harrowing images to advertisements, with their shiny parade of commodified objects and (particularly female) bodies, was concerning. News photographs took on this sheen, whilst the messages in the adverts, seen alongside ‘objective’ documentary, became naturalised.</p> <p style="text-align: justify;"><em>Camerawork </em>sought to disrupt this process and reveal that both sets of images were political: i.e. the product of a particular agenda. Today, it might seem that we no longer need to be told not to be so naive. We are more suspicious of things that purport to be true than ever before. The idea of truth itself seems up for grabs. We know western media is not to be trusted; it has become commonplace to point to fake news, but the increasing presentation of content through algorithms ensures that even images that have not been fakes, edited or otherwise doctored are still suspect for their very existence in a structure so obviously plugged into corporate capitalism.</p> <p style="text-align: justify;">What, then, can <em>Camerawork’s </em>warnings add to our dealings with the media? Perhaps the answer can be found in Victor Burgin’s essay for the third issue<a href="https://www.fourcornersarchive.org/archive/view/0000003">, ‘Art, Common Sense & Photography’</a>. Burgin states that manipulation of the world, far from being an aberration, is the basis of all photographic practice. Photography is an alchemical process of transformation, rather than a mirror, and recognising this is a vital step in being able to unmask the politics of images. Although Burgin’s chemical metaphor no longer holds, photography is still a distortion of the world, albeit digital, reducing it to pixels and binary code. An awareness of this could enliven us to the ways in which technology reconstitutes media and presents a certain picture of events through its highly subjective networks.</p> <p style="text-align: justify;">Burgin’s most striking point, however, is his identification of the central paradox of the camera. The issue that has long troubled artists, so much so that Brecht felt it necessary to call the instrument ‘politically-deficient’, is that in order to enact political change the camera must be able to penetrate appearances, but it is only able to record them, parroting back the dominant order and reproducing inequality. This is what Spence warns against in Issue One.</p> <p style="text-align: justify;">However, Burgin suggests that this is actually what makes photography so powerful: it enables us to turn the weapons of the master against him. Creating contrast and comparison is for Burgin the way to animate the inherent contradiction between image and reality. This advice might stand for photographers today: expose the irrationality in the world through a medium we know to be much more irrational than we previously allowed for.</p>
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      • essay_titleCritical engagements with documentary photography
      • essay_authorFrances Whorrall-Cambell
      • essay_extract<p>The subheading to <em>Camerawork </em>8, a special issue on the ‘Battle of Lewisham’, proclaims: ‘What are you taking pictures for?’. <em>Why photograph?</em> was a central concern of Half Moon Photography Workshop. In many ways the ‘why’ was easy to answer (although, as this issue showed, the reasons were many): what was more difficult was the issue of who - who could be a photographer, and what being a photographer meant. </p>
      • essay_content<p>In order to answer these questions, HMPW framed a radical reinvention of the medium and its practitioners, advancing a new concept of ‘community photography’. This was first outlined by Jo Spence in <em>Camerawork</em> 1 and elaborated on in Issue 13, which was dedicated to ‘Photography in the Community’. What Spence discusses in this first issue is a three-pronged attack on the mechanisms of mainstream image production and circulation in Britain. </p> <p><meta charset="utf-8" /></p> <p style="text-align: justify;">The first weapon in this war was alternative or community presses, which offered photographers control over the fruits of their labour. Such publications could show solidarity and promote community action, providing an antidote to the individualism and sensationalism of traditional journalism. </p> <p style="text-align: justify;">The power was in having control over the means of image production: Spence recommends the use of photography as a tool by social activists. Through workshops and equipment loans, groups could encourage community feeling and help marginalised people represent themselves - gaining the skills to be critical of images and demand different depictions. Those who attended these workshops then became community documentarians, going out into the places in which they lived and worked to photograph the other residents and build a picture of a life from the inside contrary to popular stereotypes and ignorance. </p> <p style="text-align: justify;">Community photography, then, was about providing alternatives: alternative images, alternative photographers, and alternative channels of publication and distribution. Half Moon Photography Workshop attempted to provide for all three: in their gallery and magazine, their workshops, and promotion of photographers such as<a href="https://www.fourcornersarchive.org/archive/index?keyword=derek+smith&format%5B%5D=4&format%5B%5D=8&format%5B%5D=16&format%5B%5D=15&format%5B%5D=13&format%5B%5D=14&format%5B%5D=1&format%5B%5D=3&format%5B%5D=5"> Derek Smith</a> and <a href="https://www.fourcornersarchive.org/archive/index?keyword=george+plemper&format%5B%5D=4&format%5B%5D=8&format%5B%5D=16&format%5B%5D=15&format%5B%5D=13&format%5B%5D=14&format%5B%5D=1&format%5B%5D=3&format%5B%5D=5">George Plemper</a>.</p> <p style="text-align: justify;">These ideas were radical in the Britain of the 1970s, where social documentary photography had fallen victim to its own success and become co-opted into mainstream imagery. However, in their suspicions and desire to create new photographers, HMPW were drawing on doubts already seeded within certain corners of the English documentary tradition.</p> <p style="text-align: justify;">Bill Brandt was a pioneer of British social documentary photography. His 1936 book ‘The English at Home’, a pictorial survey of British domesticity between rural and urban settings and across classes, appears a classic of the genre. However, this work was actually highly innovative, as Brandt responded to increasingly ambivalent feelings towards his claim to objectivity. Brandt mobilised a technique of juxtaposition drawn from the surrealists, in which commentary was produced in the collision of the photographs on facing pages. In this, Brandt directly intervened in the images, exposing the mechanics by which photographic meaning was produced, and foregrounding not only his creative role but his subjectivity. </p> <p style="text-align: justify;">Brandt’s suspicion of the photographer’s supposed ‘objectivity’ was also felt by the members of HMPW. They transformed this doubt into a new manifesto. It was not enough to recognise and acknowledge one’s limitations as a photographer: those biases still existed. Instead one needed to encourage more people to document themselves in order to counter the stereotypes of others.</p> <p style="text-align: justify;">In this community-based photography, HMPW found precedent in Mass Observation. Founded in 1937, and another surrealist-inspired endeavour, Mass Observation aimed to record everyday life in Britain through a network of volunteer observers who kept diaries, answered questionnaires, and took photographs of daily occurrences. Over 1,500 people were recruited from all social classes; ordinary people were given the necessary tools and encouraged to record their own lives and the lives of their communities.</p> <p style="text-align: justify;">In its desire for an ‘insider’s perspective’, Mass Observation chimed with HMPW’s ambitions, and the collective themselves were interested in this earlier project, dedicating an issue of <em>Camerawork </em>to the observers. Many of the photographers HMPW chose to exhibit also sat within this ethos: from Derek Smith’s photographs of his Teeside home, to George Plemper’s sensitive portraits of his pupils at Riverside. But HMPW differed from Mass Observation on two vital points. </p> <p style="text-align: justify;">While Mass Observation had aimed at an objective record comprised of a great number of data points, many of HMPW’s photographers shared the tacit assumption of their subjectivity, even if the rhetoric of objective investigation was still present. Daniel Meadows’ <a href="https://www.fourcornersarchive.org/archive/index?keyword=Shuttles%2C+Steam+and+Soot+-+Daniel+Meadows%C2%A0&format%5B%5D=4&format%5B%5D=8&format%5B%5D=16&format%5B%5D=15&format%5B%5D=13&format%5B%5D=14&format%5B%5D=1&format%5B%5D=3&format%5B%5D=5">Shuttles, Steam and Soot</a>, was billed as a ‘serious investigation’ of the Lancashire cotton industry, but what actually enlivened the images for Meadows was the strangeness of the encounters - the interpersonal aspect. </p> <p style="text-align: justify;">Mass Observation had been instigated to create an archive of everyday life, but HMPW had far greater aspirations. As stated in their special issue: ‘to document alone is not enough - the process must be taken further and used to effect social change’. Change was always the purpose of HMPW’s projects, and social change relied upon a fundamental transformation of tradition. Suspicion of the photographer was transformed into a vision of community documentary, and community documentary was transformed into political action. Why take pictures was obvious, but HMPW’s chance of achieving that goal relied on a complex understanding of who (photographer and subject) gained by looking to the past as much as to the future.</p>
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• $request->data(empty)
• $this->validationErrors(array)
  • AppPreference(empty)
  • AppPreferenceExpanded(empty)
  • FrontpageRewrite(empty)
  • FrontpagePage(empty)
  • ArchiveItem(empty)
  • Tag(empty)
  • Collection(empty)
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  • Theme(empty)
  • File(empty)
  • AssetCategory(empty)
  • Medium(empty)
  • TimelineItem(empty)
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  • TagObject(empty)
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  • 1AppTable
  • 2Form
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  • 4AdminPreview
  • 5CookieCompliance
  • 6Frontpage
  • 7FrontpageSitemap
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  • 13Number
  • 14Avatar
  • 15Antispam
  • 16Menu
  • 17SimpleGraph
  • 18DebugTimer
  • 19Toolbar
  • 20AppJqueryEngine
  • 21HtmlToolbar

App Constants

CakePHP Constants

PHP Environment

Included Files

Include Paths

• 0/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Plugin/App/Vendor/htmlpurifier
• 1/var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/pear/numbers_words
• 3/opt/plesk/php/7.4/share/pear
• 4-> /var/www/vhosts/fourcornersarchive.org/httpdocs/live/Vendor/cakephp/cakephp/lib/Cake/

Included Files

• core(array)
  • Behavior(array)
    • 0CORE/Model/Behavior/ContainableBehavior.php
  • Cache(array)
    • 0CORE/Cache/Cache.php
    • 1CORE/Cache/Engine/FileEngine.php
    • 2CORE/Cache/CacheEngine.php
  • Component(array)
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    • 1CORE/Controller/Component/RequestHandlerComponent.php
    • 2CORE/Controller/Component/CookieComponent.php
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  • Configure(array)
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    • 1CORE/Configure/PhpReader.php
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    • 2CORE/Controller/Component.php
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    • 0CORE/Error/exceptions.php
    • 1CORE/Error/ErrorHandler.php
  • I18n(array)
    • 0CORE/I18n/I18n.php
    • 1CORE/I18n/L10n.php
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    • 2CORE/Log/Engine/FileLog.php
    • 3CORE/Log/Engine/BaseLog.php
    • 4CORE/Log/CakeLogInterface.php
  • Model(array)
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    • 1CORE/Model/BehaviorCollection.php
    • 2CORE/Model/ModelBehavior.php
    • 3CORE/Model/ConnectionManager.php
    • 4CORE/Model/ModelValidator.php
    • 5CORE/Model/Validator/CakeValidationSet.php
    • 6CORE/Model/Validator/CakeValidationRule.php
  • Network(array)
    • 0CORE/Network/CakeRequest.php
    • 1CORE/Network/CakeResponse.php
  • Other(array)
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    • 1CORE/basics.php
    • 2CORE/Core/App.php
    • 3CORE/Core/Configure.php
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    • 5CORE/Event/CakeEventListener.php
    • 6CORE/Event/CakeEvent.php
    • 7CORE/Event/CakeEventManager.php
    • 8CORE/Core/CakeObject.php
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    • 2CORE/Routing/DispatcherFilter.php
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  • App(array)
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    • Configure(array)
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    • Model(array)
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      • 1App/Model/AppModel.php
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      • 3App/Model/Tag.php
      • 4App/Model/TagObject.php
    • Behavior(array)
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      • 1App/Model/Behavior/SluggableBehavior.php
      • 2App/Model/Behavior/IncrementalBehavior.php
      • 3App/Model/Behavior/AppSerializeBehavior.php
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      • 1Asset/Config/routes.php
    • Model(array)
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    • Behavior(array)
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    • Config(array)
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  • Blog(array)
    • Config(array)
      • 0Blog/Config/bootstrap.php
      • 1Blog/Config/routes.php
    • Plugin(array)
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      • 1Blog/Lib/Routing/Route/BlogPostRouteIndex.php
  • BlogAdmin(array)
    • Config(array)
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      • 1BlogAdmin/Config/routes.php
  • DebugKit(array)
    • Component(array)
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    • Plugin(array)
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      • 1DebugKit/Lib/Panel/HistoryPanel.php
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      • 5DebugKit/Lib/Panel/SqlLogPanel.php
      • 6DebugKit/Lib/Panel/TimerPanel.php
      • 7DebugKit/Lib/Panel/LogPanel.php
      • 8DebugKit/Lib/Log/Engine/DebugKitLog.php
      • 9DebugKit/Lib/Panel/VariablesPanel.php
      • 10DebugKit/Lib/Panel/EnvironmentPanel.php
      • 11DebugKit/Lib/Panel/IncludePanel.php
      • 12DebugKit/Lib/DebugTimer.php
  • Frontpage(array)
    • Config(array)
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      • 1Frontpage/Config/routes.php
    • Plugin(array)
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    • Component(array)
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    • Controller(array)
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      • 1Project/Controller/ProjectAppController.php
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      • 6Project/Model/TimelineItem.php
      • 7Project/Model/ArchiveItemsTheme.php
    • Behavior(array)
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  • ProjectAdmin(array)
    • Config(array)
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      • 1ProjectAdmin/Config/routes.php
  • Search(array)
    • Component(array)
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    • Plugin(array)
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  • Story(array)
    • Config(array)
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      • 1Story/Config/routes.php
    • Plugin(array)
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      • 1StoryAdmin/Config/routes.php
  • User(array)
    • Behavior(array)
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  • UserAdmin(array)
    • Config(array)
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      • 1UserAdmin/Config/routes.php