[1] In 2004, she was the writer in residence at the University of York, and also the recipient of a grant from the Arts and Humanities Research Council in order to investigate and produce an ‘alternative to a script-based filmmaking practice through an innovative, location-based process that exploits the responsive potential of digital video technologies’.
[3] Following this, she wrote an article concerning her own processes in developing Ecology (then titled The Mills) and the industry’s attitude to scriptwriting more generally, which has been archived by Central Saint Martin’s College of Art and Design’s British Artists' Film and Video Study Collection project.
[6] For the Birds Eye View Film Festival 2008, Turner orchestrated an ‘innovative cinematic symphony of women's voices from around the world’ in an interactive mobile phone filmmaking project.
[9] It was the Sight and Sound Film of the Month, about which the critic Chris Darke wrote, "As physically immersive as anything you’re likely to see at a 3D multiplex, Perestroika sets its coolly minimalist structure against a visceral emotional tone to produce a work unlike any other in current British cinema.
Writing for the BFI's Sight and Sound, critic Sophie Mayer commented “Its combination of the choreographic and choral offer a dazzlingly unique form in which to make the collective cinematic”.
[14] In the early nineties, Turner curated for the Tate gallery,[3] programmed the monthly avant garde showcase at the National Film Theatre (now BFI Southbank),[1] and devised a touring programme of artists’ moving image work for the Arts Council of England ‘Hygiene and Hysteria: The body desired and the body debased’ in conjunction with fellow filmmaker Ian Iqbal Rashid, featuring such artists as Michael Brynntrup, Kayla Parker, John Grayson and Anna Thew.
In the four month launch programme collaborations with communities and other art forms plus explorations into political and technological change featured heavily alongside original commissioned moving image works.