As typical when finishing a book that attempts to build a canon, as I have tried to do with Folk Horror, the signalling of its publishing means a whole host of new potential examples surface and come to light. Though there were things in the Folk Horror book that I simply left out by sheer … Continue reading Folk Horror Curios
It was a rather surreal feeling to find that, whilst watching this year's Eurovision Song Contest in a flat in France, the work of writer and filmmaker, Alain Robbe-Grillet, continually kept coming to mind. At first I failed to understand what exactly it was that was bringing his typical visual and narrative ploy of human … Continue reading The Frozen Time Of Alain Robbe-Grillet
At the time of writing this, my book on Folk Horror is a few weeks away from being printed. By the time you read this, however, it should be available to buy. I've written about the detail of the book earlier when it was due to be published late last year. However, I wanted to … Continue reading Folk Horror: Hours Dreadful and Things Strange
If I was asked to suggest a particular sound that defined London through its cinema, it would not be the bustling noise of traffic or an iconic piece of soundtrack music; it would, in fact, be the very simple but endlessly mysterious sound of the wind rustling through the trees in Michelangelo Antonioni’s Blowup (1966). … Continue reading Blowup (1966) and the Deleuzian Breeze in the Trees
Having recently finished all of the remaining episodes of the early 1970s BBC series, Doomwatch, I had the strange feeling that I had slipped into a parallel world; one where the BBC had worked closely with the writer, J.G. Ballard, to make a series that addressed his themes. Though the series largely resembles Ballard's earlier … Continue reading Doomwatch, J.G. Ballard and High-Rise
I remember before I first watched Ben Rivers' Two Years At Sea (2011) that a certain review quote about the film caught my eye. It was suggested by a Time Out reviewer that Rivers' film was "A rare thing in cinema: a vision of true happiness". At the time, this idea framed my viewing of … Continue reading Contentment and Chris Marker’s Chat écoutant la musique (1988)
"Once I loved a man who was a lot like the desert, and before that I loved the desert." - Rebecca Solnit (2006). Late last year, I quite accidently combined the viewing of two films that spoke of a theme I have become interested in over the last few months. Viewing Michelangelo Antonioni's Zabriskie Point … Continue reading Sex and the Landscape in Zabriskie Point (1970) and The Last Movie (1971)
As recently announced, I have a book being released in January all about Folk Horror and its many related areas of interest. The book has been in the works for the last year or so though many of the arguments within have been growing now for several years. Though I'll undoubtedly being doing the usual … Continue reading Folk Horror: Hours Dreadful and Things Strange (January, 2017)
John Rogers has been one of the most prominent psychogeographical writers and filmmakers of the last decade. Fiercely independent and with a strong DIY sensibility towards his creative responses to London, his work is a vital component and documentation of a city still in a phase of hyper-development and gentrification. Ahead of his adaptation/response to … Continue reading Interview: John Rogers on London Overground and Psychogeography.
Norman Cohen's filmic version of Geoffrey Fletcher's 1967 book, The London Nobody Knows, could hardly be called an adaptation. With the book being a mixture of personal documentary and the historical exploring of London streets, its narrative is one purely of journeys if anything else. Cohen was already used to this blurring of fiction and … Continue reading The London Nobody Knows (1969) – Psychogeographic Fluctuation.