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 get a few words down again now that it is … 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). Having visited all of the locations of the film last … 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 novels with their constant post-civilisation eco-disasters similar to The Drowned World … 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 Rivers’ film as it rang true; not only was the … 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 (1970) followed by Dennis Hopper’s debut as a director, The … 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 interview-esque things to coincide with the release in December and … 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 Iain Sinclair’s most recent book, London Overground, I met up … 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 fact having unaccredited work on Arnold L. Miller’s cult documentary, … Continue reading The London Nobody Knows (1969) – Psychogeographic Fluctuation.
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. I’ve been going to the seaside resort of New Brighton for as long as I can remember, often as a place to sit off and … Continue reading Wanders: The Magnet and The Last Resort (New Brighton).
“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 interesting dialectic between place and youth. With 1952’s A Portrait Of Ga – a 4 minute short, shot on 16mm and with a voice-over by … Continue reading Place and Youth in Margaret Tait’s A Portrait Of Ga (1952).