Dérives: The Magnet and The Last Resort (New Brighton).

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As a last hurrah of being on Merseyside before moving, I decided to revisit a place just down the road from where I’d lived on The Wirral; armed with a desire to dig up some of its surprising past glories.  … Continue reading

Responses: Richard Long’s A Line Made By Walking (1967).

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Rather like the work of sculptor, Andy Goldsworthy, Richard Long’s work almost constantly and immediately asks an intriguing question: which part of the work is the official segment of “art”?  Is it the very act of the process of making … Continue reading

Rurality In Folk Horror And The Films of David Gladwell.

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This paper was originally given at The Alchemical Landscape conference at Girton College Cambridge, 07/07/2016. Though more well known for work as a film editor associated with the Free Cinema Movement of the late 1950s, and for cutting work on … Continue reading

Wire and Grass: Landscape Binaries in Television and Reality.

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At the recent Alchemical Landscape conference in Cambridge, there was some interesting analysis of the portrayal of landscape in the opening sequence of Alan Clarke’s Play For Today episode, Penda’s Fen (1974).  The point in the analysis was to show the … Continue reading

Dérives: Ian Nairn’s Pimlico (London).

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I’ve always had a slight relationship with Victoria and Pimlico in London.  As central London areas go, it has always represented two things to me: the awful feeling of leaving the city and the sense of dread at having to … Continue reading

Responses: Jeremy Millar’s A Firework For Sebald (2005).

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The strongest moment in Grant Gee’s documentary on W.G. Sebald, Patience (After Sebald) (2012), is courtesy of a photographic work by the artist, Jeremy Millar. Towards the end of film, the inevitable addressing of the tragedy of Sebald’s life being … Continue reading

Trailer – Heavy Water.

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Above is the trailer for the next short film, Heavy Water.  This is to be the longest film this year and the most ambitious in terms of scope in spite of future projects containing narratives and actors.  Heavy Water ‘s … Continue reading

Place and Youth in Margaret Tait’s A Portrait Of Ga (1952).

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“My mother lives in the windy Orkney Islands.  It’s certainly a wonderful place to be brought up in.” – A Portrait Of Ga In making a short film about her mother, the experimental filmmaker, Margaret Tait, essentially drew upon an … Continue reading

Interview: Mike Hodges on Get Carter (1971).

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Mike Hodges’ debut feature film, Get Carter (1971), was one of the key shifts in British cinema of the period.  With its total lack of hope, an earnest presence of violence and a hugely detailed topography, the film is one … Continue reading

Dérives: Sebald, Sizewell and Dunwich (Suffolk).

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“The contours of the Sizewell power plant, its Magnox block a glowering mausoleum, begin to loom upon an island far out in the pallid waters where one believes the Dogger Bank to be, where once shoals of herring spawned and … Continue reading