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In Attempts to Build Love Relationships with Deptford

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Deptfordとの恋愛関係を構築する試みにおいて

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film installation (urban essay film), audio archive of interviews

4th to 8th December 2019 at Art Hub Gallery in Deptford

Exhibited at the group exhibition By Way of Returns curated by I-Ying Liu

Publication that accompanies the exhibition

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映像インスタレーション（都市エッセイフィルム）、インタビューのオーディオアーカイブ

2019年12月4日–8日

Art Hub Gallery（Deptford、ロンドン）

グループ展「By Way of Returns」にて展示

キュレーター：I-Ying Liu

グループ展「By Way of Returns」のための書籍（英語）

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Abstract

Urban essay film / 40 mins / HD video / Colour / Stereo / UK

The film presents the act of building relationships between humans and places, through the local and British immigration histories, the research into text materials including local historical diarists (John Evelyn and Samuel Pepys), voices of people in Deptford, Kakinoki’s dream, and his correspondence with an anonymous woman. The six-month process of research and filming (from March to June, and from October to November 2019) was regarded as building love relationships between Kakinoki and the area.

audio archive of interviews / 5 hours 33 mins / stereo / UK

The unedited interviews with the local people in Deptford.

Kakinoki asked 22 questions to 16 people who had some relationship with Deptford. The questions were about the relationships between them and the Deptford area, and love. The unexpected participation of local people who were not the interviewees, the blank time when Kakinoki waited for some of the interviewees who were temporarily away for work, and sounds of the city filling the time were included in the recording. In this sense, it is also a record of building the relationship between Kakinoki and Deptford. Of the 22 questions, the answers to six became one of the layers of the film.

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概要

都市エッセイフィルム / 40分 / HDビデオ / カラー / ステレオ / イギリス

人と場所とが関係を築く行為を、Deptfordの地域史と英国移民史、この地域で活動した歴史上の日記作家たち（ジョン・イヴリンとサミュエル・ピープス）を含むテキスト資料のリサーチ、地元住民たちの声、Kakinokiの夢、匿名女性との文通を通して提示する。6ヶ月間（2019年3月から6月と10月から11月）の調査と撮影のプロセスは、作家と地域間の恋愛関係の構築として捉えられた。

インタビューのオーディオアーカイブ / 5時間33分 / ステレオ / イギリス

Deptfordの人たちと行ったインタビューの無編集版。

Deptfordと何らかの関係性を持つ16人に、22の質問をした。質問内容は、取材対象者とDeptfordエリアの関係性と、愛について。取材対象者ではない地元民らの予期せぬ参加や、仕事のために一時離席した取材対象者をKakinokiが待ち続ける空白の時間、それを満たす街の音なども録音に収められた。この意味では、KakinokiとDeptfordの関係構築の記録でもある。22の質問のうち、6つの質問に対する回答が、映像作品を構成する一つのレイヤーとなった。

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Excepts From Curatorial Note by I-Ying Liu

A general impression towards historical writings has considered them to be reliable records of past events or situations. Refuting their claim to universal authority and all- encompassing viewpoint, artist Dora Garcia has written about how the tissues of history are formed by truths that ‘[belong] to a group of people who have agreed that things are a given way because that way is more convenient to their present interests or more conducive to their survival’.1 Her text points toward the essential, if not intentional, bias of historical narratives while opening fields of enquiry into the commonly accepted. Building upon Garcia’s idea, By Way of Returns seeks to rethink the ways in which historical narratives are constructed through artistic practices that uncover and perform unfulfilled potentials of the past. It examines the normative model of historical writing, which is predominantly top- down, statistics-dominated and heroic- figure-centred, and challenges the notion of history being stratified state-of-beings. Specific to the areas of New Cross and Deptford in Southeast London, where the participating artists have resided, studied or worked for varying spans of time, this project looks into the local histories that have been contested with issues surrounding migration, race, gentrification and the neoliberal system. The artists have taken, what art historian Rebecca Schneider terms, ‘a porous approach to time’2, disrupting its linearity through embarking on their backward, or even multi-directional, exploration of the local histories. They work to interweave the practices of archival, field and genealogical research with affective components such as personal recollections, sensorial perception and fictional re-imaginings. Presented in the forms of video, performance and mixed-media installation, their works delineate alternative paths in reaching back to the past, to contemplate its relevance in the current society.

[…]

abirdwhale Kakinoki Masato’s engagement with the local area and its inhabitants has been rendered visible In Attempts to Build Love Relationships with Deptford (2019). Consciously and proactively mapping both his and several locals’ emotional experiences, the artist has looked into patterns of human beings’ attachments toward a geographical location. His six months of field research has been largely conversation-led, with a story of migration leading to another about someone’s coming- of-age. Taking the form of an essay film, the work has integrated voices from various individuals with the artist’s textual and visual response. While each component stands independently, the film as a whole gestures towards an affective and personal respect that is usually absent in the writing of history.

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I-Ying LiuによるCuratorial Noteからの抜粋（英語）

A general impression towards historical writings has considered them to be reliable records of past events or situations. Refuting their claim to universal authority and all- encompassing viewpoint, artist Dora Garcia has written about how the tissues of history are formed by truths that ‘[belong] to a group of people who have agreed that things are a given way because that way is more convenient to their present interests or more conducive to their survival’.1 Her text points toward the essential, if not intentional, bias of historical narratives while opening fields of enquiry into the commonly accepted. Building upon Garcia’s idea, By Way of Returns seeks to rethink the ways in which historical narratives are constructed through artistic practices that uncover and perform unfulfilled potentials of the past. It examines the normative model of historical writing, which is predominantly top- down, statistics-dominated and heroic- figure-centred, and challenges the notion of history being stratified state-of-beings. Specific to the areas of New Cross and Deptford in Southeast London, where the participating artists have resided, studied or worked for varying spans of time, this project looks into the local histories that have been contested with issues surrounding migration, race, gentrification and the neoliberal system. The artists have taken, what art historian Rebecca Schneider terms, ‘a porous approach to time’2, disrupting its linearity through embarking on their backward, or even multi-directional, exploration of the local histories. They work to interweave the practices of archival, field and genealogical research with affective components such as personal recollections, sensorial perception and fictional re-imaginings. Presented in the forms of video, performance and mixed-media installation, their works delineate alternative paths in reaching back to the past, to contemplate its relevance in the current society.

[…]

abirdwhale Kakinoki Masato’s engagement with the local area and its inhabitants has been rendered visible In Attempts to Build Love Relationships with Deptford (2019). Consciously and proactively mapping both his and several locals’ emotional experiences, the artist has looked into patterns of human beings’ attachments toward a geographical location. His six months of field research has been largely conversation-led, with a story of migration leading to another about someone’s coming- of-age. Taking the form of an essay film, the work has integrated voices from various individuals with the artist’s textual and visual response. While each component stands independently, the film as a whole gestures towards an affective and personal respect that is usually absent in the writing of history.

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Conversation Between Kakinoki and I-Ying Liu

I-Ying Liu: We are on a river bus from London Bridge to Greenwich. Why do you take me here? How does this relate to your work?

abirdwhale Kakinoki Masato: When I take a river bus from London Bridge, it gives me the feeling of longing, approaching and encountering. This was also a journey that appears several times in Samuel Pepys’ diary. He lived near Tower Hill and often worked at the (Deptford) dockyard, so he took this route a lot.

IY: Who’s this person?

M: He was an English diarist, whose works help people know about London in around the 17th century. I’m going to quote his book a bit in my work. Also John Evelyn, another diarist, whose house and well-known garden used to be next to the dockyard, and the much smaller part of the garden still exists as a park (Sayes Court). When you walk around Deptford, you’ll see a lot of estates, streets and buildings named after them. Pepys Estate or Evelyn Street.

IY: And how has the riverside informed your work about Deptford?

M : When you look into the history of Deptford, you’d find that it was once the entrance or the departure point, from and to the UK. When I stand on the London Bridge City Pier, I see the River Thames leading all the way to the ocean. That’s the entrance of the UK. We (/the river bus) are now going outward.

I first visited The Dog & Bell in the early Summer or late Spring. It’s one of the iconic pubs for the locals. I explained my project and they said I should walk down to the dockyard, which I knew little about at that time. So I did, and when I saw the River Thames with remains from Deptford Pier (I might be wrong), I was emotionally captivated. I’ve been trying to avoid unnecessarily emotional elements in my work recently, but because I set the framework this project as attempts to build love relationships with Deptford, I can justify the use of passion or love for the place. I’m still looking for the precise translation of the term, but it’s 情景 (jōkei) in Japanese, meaning scenery that touches your heart. My feelings towards these places later form an important part of my work.

At that point, I hadn’t started reading anything about Deptford’s history. I always thought of Deptford Market as where everything began. Later I found out, it was because of the dockyard that the market started to thrive.

IY: That’s something I didn’t know as well. Coz at this point, Deptford Market seems a lot busier.

M: Yeah, from what I read, there are two reasons that cause the decline of the dockyard. Natural factor-wise, the water was not deep enough, so they had to keep digging the mud out to accommodate ships which were getting larger and larger. They ended up closing and abandoning the dock. The wood industry also thrived for a period of time. There used to be lots of factories and workshops, which were then closed down because of the surge of the steel industry.

IY: You’ve spent more than half a year doing fieldworks in the area of Deptford. How did you start? Can you talk about your research process and share with us some of your findings?

M: It’s actually you who started the whole thing. You asked if I was interested in doing something about the history of Deptford and the market. We visited there together in February. On that day, I didn’t do much but felt that the area was quite approachable. So I decided to start some random exploration later on. In the early phase, I was eating a lot around the market. It’s usually the easiest way to interact with the locals and start conversations. Other times, I just did my own stuff at the cafes in Deptford, including London Velo and The Greenhouse Deptford. I was not directly working on the project but thought it would still help if I spent more time there and immersed myself with the surrounding environment.

It wasn’t until I started going to PLOT Coffee (a mobile coffee shop) that I began to really get to know the locals personally. It’s in the middle of the bric-a-brac and second-hand market; the energy is always high. Plus, there are only two tables, so you are somehow ‘forced to’ share the space and chat with people. Some of the people I met there gave me a lot of information about the local history. Others later became my interviewees.

Lomond Coffee at Deptford Market Yard is another place that helped me a lot in developing the project. The chef and barista, Jack, was very supportive; he told me about The Dog & Bell pub, which I mentioned earlier. An important source of my research, a book called Turning the Tide: The History of Everyday Deptford was recommended by a temporary worker of the greengrocery at the market.

After spending half a year in the area, I still don’t feel I’m knowledgeable enough to say anything solid or speak about it for the local people. So I stopped thinking that I wanted to ‘find’ something to present in the work. Instead, I decided to render my research process visible, using it as a medium to make the locals’ voices accessible and also bring in my thinking and experiences around it. That’s what I ended up doing.

IY: History and non-normative/non- human love relationship are two aspects you pick up and dig into this time. I wonder how they intersect in the work.

M: One day I was reading English researcher Meg-John Barker’s book on love, sex and relationship (titled Rewriting the Rules), in which she writes about the relationship one can have with the non-human, including places. I thought I could try experimenting this idea with Deptford, a place quite new to me, and consciously explore how it makes me feel. Aside from myself, I was also interested to know how the locals’ sense of belonging toward the area is formed (or not) and how they think about the interrelation between their personal history and different aspects of the changes Deptford has gone through. That’s why I decided to incorporate the element of interviews with the locals into the work.

At first, I consciously avoided reading any books and relied mostly on my conversations with people to develop the project. But before I started filming and designing the question list for my interviewees, I felt like I needed to know more. I think it’d somehow shape my view on the area and the way I make the work. That’s when I started reading relevant books and they really help me place what I experience and know within a bigger historical background.

A local I had a conversation with said, ‘it’s a good eclectic mix of different people but the cultural history, it just comes out. If someone turns around and says, and your ears listen to it... And you got “Oh that’s quite interesting. I like that. I like that” So it gives another stand... [M: So you keep learning from everyday conversations.] Yeah yeah yeah, definitely. Definitely. And I personally think, if you want to belong to a community and understand it, you need to know about it, and know about cultural changes and how it’s changed from the beginning...’. I think that well resonates with what I’ve been trying to do in this project, which is to explore the development of my (or other human beings’) relationship with a place through conversations, reading and experiencing.

IY: That somehow explains your choice on ‘essay film’, a genre that has been defined to retain a self-reflexive and self-referential nature, as the project’s form of output. Can you expand on that?

M : I attended the screenings of 'City, Essay, Film' organised by UCL Urban Laboratory. That was my first conscious encounter with essay film. I also read some related books by authors such as Laura Rascaroli. As this time is more about my personal journey, mixed with other people’s voices, the self-reflective nature of essay film does fit. As for the self-referential part, it’s fairly similar to a Japanese literary genre called I-Novel . That’s something I’ve been familiar with as a reader and something I’d love to start doing in the near future.

IY: Can you say a bit more about I-Novel?

M : In Japanese, it’s called 私小説 (Shishōsetsu). It’s also self-reflective and self- referential. People usually write about themselves or some aspects in their lives. It’s still categorised as fiction, but almost autobiographical in a way. I like the in-betweenness and ambiguity.

IY: Let’s dive further into the making of this film. You’ve shot footages of the dockyard, interviewed several residents about their attachment to the local area and written about your own response. Can you share with us the process of doing them and how you integrate these components into the work?

M: There are four layers. Two of them reside in the film’s subtitles. One is about histories of the area. The other is about love, including some theories, histories and my thoughts and experiences. The third layer is the footages. This layer is like film music to me, as it is more about my emotion toward some remains of the dockyard area and less about logics or theories. The fourth layer is the audio interviews. I asked the same set of questions to different local people. Because there’s not enough space for me to put the full version of every interview into the film, I’ll instead make a web archive to make them accessible. The four layers are not related to each other directly, but because this is a fixed film, there is a loose correlation, obviously influenced by my subjectivity. I think my use of such balance between chaotic and excessive amount of information, and the linear structure of narrative, was partially influenced by Hirata Oriza’s theatre plays, several of which I have seen last summer in Tokyo.

IY: I think what you do in this project offers the audience a rather affective entry into the history of Deptford. I’m curious as to how this project reflects your view on the notion of history and the potential of artistic practice to rethink what has been written about the past.

M: Every linear history is the result of stripping off endless varieties of a past event. It is okay as gathering every single voice and view on something is inevitably impossible. But I guess showing the histories of something as ‘histories’ in a meaningful way is one of the things artists can do and what I have been trying to do.

[Transcribed recording, edited for length and clarity.]

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KakinokiとI-Ying Liuの会話（英語）

I-Ying Liu: We are on a river bus from London Bridge to Greenwich. Why do you take me here? How does this relate to your work?

abirdwhale Kakinoki Masato: When I take a river bus from London Bridge, it gives me the feeling of longing, approaching and encountering. This was also a journey that appears several times in Samuel Pepys’ diary. He lived near Tower Hill and often worked at the (Deptford) dockyard, so he took this route a lot.

IY: Who’s this person?

M: He was an English diarist, whose works help people know about London in around the 17th century. I’m going to quote his book a bit in my work. Also John Evelyn, another diarist, whose house and well-known garden used to be next to the dockyard, and the much smaller part of the garden still exists as a park (Sayes Court). When you walk around Deptford, you’ll see a lot of estates, streets and buildings named after them. Pepys Estate or Evelyn Street.

IY: And how has the riverside informed your work about Deptford?

M : When you look into the history of Deptford, you’d find that it was once the entrance or the departure point, from and to the UK. When I stand on the London Bridge City Pier, I see the River Thames leading all the way to the ocean. That’s the entrance of the UK. We (/the river bus) are now going outward.

I first visited The Dog & Bell in the early Summer or late Spring. It’s one of the iconic pubs for the locals. I explained my project and they said I should walk down to the dockyard, which I knew little about at that time. So I did, and when I saw the River Thames with remains from Deptford Pier (I might be wrong), I was emotionally captivated. I’ve been trying to avoid unnecessarily emotional elements in my work recently, but because I set the framework this project as attempts to build love relationships with Deptford, I can justify the use of passion or love for the place. I’m still looking for the precise translation of the term, but it’s 情景 (jōkei) in Japanese, meaning scenery that touches your heart. My feelings towards these places later form an important part of my work.

At that point, I hadn’t started reading anything about Deptford’s history. I always thought of Deptford Market as where everything began. Later I found out, it was because of the dockyard that the market started to thrive.

IY: That’s something I didn’t know as well. Coz at this point, Deptford Market seems a lot busier.

M: Yeah, from what I read, there are two reasons that cause the decline of the dockyard. Natural factor-wise, the water was not deep enough, so they had to keep digging the mud out to accommodate ships which were getting larger and larger. They ended up closing and abandoning the dock. The wood industry also thrived for a period of time. There used to be lots of factories and workshops, which were then closed down because of the surge of the steel industry.

IY: You’ve spent more than half a year doing fieldworks in the area of Deptford. How did you start? Can you talk about your research process and share with us some of your findings?

M: It’s actually you who started the whole thing. You asked if I was interested in doing something about the history of Deptford and the market. We visited there together in February. On that day, I didn’t do much but felt that the area was quite approachable. So I decided to start some random exploration later on. In the early phase, I was eating a lot around the market. It’s usually the easiest way to interact with the locals and start conversations. Other times, I just did my own stuff at the cafes in Deptford, including London Velo and The Greenhouse Deptford. I was not directly working on the project but thought it would still help if I spent more time there and immersed myself with the surrounding environment.

It wasn’t until I started going to PLOT Coffee (a mobile coffee shop) that I began to really get to know the locals personally. It’s in the middle of the bric-a-brac and second-hand market; the energy is always high. Plus, there are only two tables, so you are somehow ‘forced to’ share the space and chat with people. Some of the people I met there gave me a lot of information about the local history. Others later became my interviewees.

Lomond Coffee at Deptford Market Yard is another place that helped me a lot in developing the project. The chef and barista, Jack, was very supportive; he told me about The Dog & Bell pub, which I mentioned earlier. An important source of my research, a book called Turning the Tide: The History of Everyday Deptford was recommended by a temporary worker of the greengrocery at the market.

After spending half a year in the area, I still don’t feel I’m knowledgeable enough to say anything solid or speak about it for the local people. So I stopped thinking that I wanted to ‘find’ something to present in the work. Instead, I decided to render my research process visible, using it as a medium to make the locals’ voices accessible and also bring in my thinking and experiences around it. That’s what I ended up doing.

IY: History and non-normative/non- human love relationship are two aspects you pick up and dig into this time. I wonder how they intersect in the work.

M: One day I was reading English researcher Meg-John Barker’s book on love, sex and relationship (titled Rewriting the Rules), in which she writes about the relationship one can have with the non-human, including places. I thought I could try experimenting this idea with Deptford, a place quite new to me, and consciously explore how it makes me feel. Aside from myself, I was also interested to know how the locals’ sense of belonging toward the area is formed (or not) and how they think about the interrelation between their personal history and different aspects of the changes Deptford has gone through. That’s why I decided to incorporate the element of interviews with the locals into the work.

At first, I consciously avoided reading any books and relied mostly on my conversations with people to develop the project. But before I started filming and designing the question list for my interviewees, I felt like I needed to know more. I think it’d somehow shape my view on the area and the way I make the work. That’s when I started reading relevant books and they really help me place what I experience and know within a bigger historical background.

A local I had a conversation with said, ‘it’s a good eclectic mix of different people but the cultural history, it just comes out. If someone turns around and says, and your ears listen to it... And you got “Oh that’s quite interesting. I like that. I like that” So it gives another stand... [M: So you keep learning from everyday conversations.] Yeah yeah yeah, definitely. Definitely. And I personally think, if you want to belong to a community and understand it, you need to know about it, and know about cultural changes and how it’s changed from the beginning...’. I think that well resonates with what I’ve been trying to do in this project, which is to explore the development of my (or other human beings’) relationship with a place through conversations, reading and experiencing.

IY: That somehow explains your choice on ‘essay film’, a genre that has been defined to retain a self-reflexive and self-referential nature, as the project’s form of output. Can you expand on that?

M : I attended the screenings of 'City, Essay, Film' organised by UCL Urban Laboratory. That was my first conscious encounter with essay film. I also read some related books by authors such as Laura Rascaroli. As this time is more about my personal journey, mixed with other people’s voices, the self-reflective nature of essay film does fit. As for the self-referential part, it’s fairly similar to a Japanese literary genre called I-Novel . That’s something I’ve been familiar with as a reader and something I’d love to start doing in the near future.

IY: Can you say a bit more about I-Novel?

M : In Japanese, it’s called 私小説 (Shishōsetsu). It’s also self-reflective and self- referential. People usually write about themselves or some aspects in their lives. It’s still categorised as fiction, but almost autobiographical in a way. I like the in-betweenness and ambiguity.

IY: Let’s dive further into the making of this film. You’ve shot footages of the dockyard, interviewed several residents about their attachment to the local area and written about your own response. Can you share with us the process of doing them and how you integrate these components into the work?

M: There are four layers. Two of them reside in the film’s subtitles. One is about histories of the area. The other is about love, including some theories, histories and my thoughts and experiences. The third layer is the footages. This layer is like film music to me, as it is more about my emotion toward some remains of the dockyard area and less about logics or theories. The fourth layer is the audio interviews. I asked the same set of questions to different local people. Because there’s not enough space for me to put the full version of every interview into the film, I’ll instead make a web archive to make them accessible. The four layers are not related to each other directly, but because this is a fixed film, there is a loose correlation, obviously influenced by my subjectivity. I think my use of such balance between chaotic and excessive amount of information, and the linear structure of narrative, was partially influenced by Hirata Oriza’s theatre plays, several of which I have seen last summer in Tokyo.

IY: I think what you do in this project offers the audience a rather affective entry into the history of Deptford. I’m curious as to how this project reflects your view on the notion of history and the potential of artistic practice to rethink what has been written about the past.

M: Every linear history is the result of stripping off endless varieties of a past event. It is okay as gathering every single voice and view on something is inevitably impossible. But I guess showing the histories of something as ‘histories’ in a meaningful way is one of the things artists can do and what I have been trying to do.

[録音から書き起こしたものを、長さと読みやすさを考慮して編集。]

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Related Links [to be updated]

Facebook Event page

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関連リンク（更新予定）

Facebookイベントページ

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References (in the order of appearance in the intertitles) [to be updated]

Stendhal. Love. Translated by Gilbert Sale and Suzanne Sale. Kindle. Penguin, 1975.

Aslet, Clive. The Story of Greenwich. Harvard University Press, 1999.

Pepys, Samuel. The Diary of Samuel Pepys. Kindle. anboco, 2016.

Anim-Addo, Joan. The Longest Journey: A History of Black Lewisham. London: Deptford Forum Publishing, 1995.

Steele, Jess. Turning the Tide: The History of Everyday Deptford. London: Deptford Forum Publishing, 1993.

Lambarde, William. A Perambulation of Kent: Conteining the Description, Hystorie, and Customes of That Shire. W. Burrill, 1826.

Stow, John. The Annales of England Faithfully Collected Out of the Most Autenticall Authors, Records, and Other Monuments of Antiquitie, Lately Corrected, Encreased, and Continued, from the First Inhabitation Vntill This Present Yeere 1600. Google Books. London: Ralfe Newbery, 1600.

The New York Times. ‘Remains of Sir Francis Drake’s Ship Are Sought in London’. The New York Times, 30 October 1977.

Evelyn, John. The Diary of John Evelyn (Volume 1 of 2). Edited by William Bray. Washington: M. Walter Dunne, 1901. http://www.gutenberg.org/ebooks/41218.

Evelyn, John. The Diary of John Evelyn (Volume 2 of 2). Edited by William Bray. Washington: M. Walter Dunne, 1901. http://www.gutenberg.org/ebooks/42081.

Lysons, Daniel. ‘Deptford, St Nicholas’. In The Environs of London: Volume 4, Counties of Herts, Essex and Kent, 359–85. London: T Cadell and W Davies, 1796. https://www.british-history.ac.uk/london-environs/vol4/pp359-385.

Walford, Edward. ‘Deptford’. In Old and New London: Volume 6. London: Cassell, Petter & Galpin, 1878. https://www.british-history.ac.uk/old-new-london/vol6/pp143-164.

Barchas, Janine. Matters of Fact in Jane Austen: History, Location, and Celebrity. Kindle. Baltimore: Johns Hopkins University Press, 2012.

Dews, Nathan. History of Deptford. Edited by Michael Wood. Kindle. FamLoc, 2015.

John Murray (Firm). Handbook to London as It Is. London: John Murray, 1871. http://archive.org/details/handbooktolondon00john_1.

Anonymous. The Home-Life of English Ladies in the XVII. Century. Google Books. London: Bell and Daldy, 1860.

Campbell-Culver, Maggie. A Passion For Trees: The Legacy Of John Evelyn. Kindle. London: Transworld Digital, 2014.

Bataille, Georges. Erotism: Death and Sensuality. Translated by Mary Dalwood. New Ed edition. San Francisco: City Lights Publishers, 2001.

Powell, Enoch. ‘Enoch Powell’s “Rivers of Blood” Speech’, 6 November 2007, sec. Comment. https://www.telegraph.co.uk/comment/3643823/Enoch-Powells-Rivers-of-Blood-speech.html.

Wilson, Bo. ‘Search on Again for Francis Drake’s Golden Hind in Deptford’. Evening Standard, 26 February 2010. http://www.standard.co.uk/news/search-on-again-for-francis-drake-s-golden-hind-in-deptford-6748238.html.

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参考文献（字幕引用順）[更新予定]

Stendhal. Love. Translated by Gilbert Sale and Suzanne Sale. Kindle. Penguin, 1975.

Aslet, Clive. The Story of Greenwich. Harvard University Press, 1999.

Pepys, Samuel. The Diary of Samuel Pepys. Kindle. anboco, 2016.

Anim-Addo, Joan. The Longest Journey: A History of Black Lewisham. London: Deptford Forum Publishing, 1995.

Steele, Jess. Turning the Tide: The History of Everyday Deptford. London: Deptford Forum Publishing, 1993.

Lambarde, William. A Perambulation of Kent: Conteining the Description, Hystorie, and Customes of That Shire. W. Burrill, 1826.

Stow, John. The Annales of England Faithfully Collected Out of the Most Autenticall Authors, Records, and Other Monuments of Antiquitie, Lately Corrected, Encreased, and Continued, from the First Inhabitation Vntill This Present Yeere 1600. Google Books. London: Ralfe Newbery, 1600.

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Credit

abirdwhale Kakinoki Masato would like to thank I-Ying Liu, Glenn Fitzy Fitzpatrick, John Hindmirsh, Peter Webb, Desrine Mcbride, Dwayne Bright, Sean Tye, Jack Guttery, Paul Clayton, Ben Graville, Thuy Phillips and those who wish to remain anonymous for their participation in the interviews (name in order of interview sequence), and Deptford Action Group for the Elderly (DAGE), the volunteers (Gill, Monika and Ashley) and members of Group Befriending, Voluntary Services Lewisham, the volunteers (Dominic and Vanessa) and members of Pepys Community Library and Resources Centre, the staff (Nalder), volunteers (Gill and more) and members of Compass Centre Mental Health Drop-in, Voluntary Services Lewisham, Lomond Coffee, Lai Loi, Deli X, Voluntary Services Lewisham, and shops which wish to remain anonymous for their support.

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クレジット

abirdwhale Kakinoki Masato would like to thank I-Ying Liu, Glenn Fitzy Fitzpatrick, John Hindmirsh, Peter Webb, Desrine Mcbride, Dwayne Bright, Sean Tye, Jack Guttery, Paul Clayton, Ben Graville, Thuy Phillips and those who wish to remain anonymous for their participation in the interviews (name in order of interview sequence), and Deptford Action Group for the Elderly (DAGE), the volunteers (Gill, Monika and Ashley) and members of Group Befriending, Voluntary Services Lewisham, the volunteers (Dominic and Vanessa) and members of Pepys Community Library and Resources Centre, the staff (Nalder), volunteers (Gill and more) and members of Compass Centre Mental Health Drop-in, Voluntary Services Lewisham, Lomond Coffee, Lai Loi, Deli X, Voluntary Services Lewisham, and shops which wish to remain anonymous for their support.

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