The Temporal Disruptions of Marguerite Duras

Marguerite Duras was never keen on giving cinema an easy time. Adapting her own stories into feature films, it seems that the writer, rather than compromise the unusual qualities of her books, experimented and destabilised the narrative aspects of film form to suit her needs instead. Like her contemporary, Alain Robbe-Grillet, Duras made many attempts to transplant the elements of voice from her literary work … Continue reading The Temporal Disruptions of Marguerite Duras

Phantom Coincidence in W.G. Sebald’s “Remembered Triptych…”

A few years ago, I was sat on a couch in Strasbourg reading essays by Teju Cole from the volume Known And Strange Things. It was night and I was alone, glancing up occasionally, as I often did when in my ex-partner’s flat, to stare at the city’s famous cathedral lit up at night. I was at the point of the book when Cole begins to … Continue reading Phantom Coincidence in W.G. Sebald’s “Remembered Triptych…”

Interview: David Gladwell on Cinema and Requiem For A Village

This interview was originally was published on the Small Cinema Liverpool website with thanks to Sam Meech and the BFI. However, since the closure and destruction of the cinema by Liverpool developers, the website has since been closed. This interview is saved here for posterity and in appreciation of a much underrated editor, filmmaker and artist Celluloid Wicker Man: In terms of filmmaking, how did … Continue reading Interview: David Gladwell on Cinema and Requiem For A Village

Memorial Dungeons: In Thomas Bernhard’s House

In 1965, Thomas Bernhard bought a house. It was bought roughly between the writing of several works, including Watten (1964) and his second novel Gargoyles (1967). The house is not really house in the ordinary sense, but a collection of farm houses known in German as Vierkanthof. The set of buildings is adjacent to the road of Obernathal in Ohlsdorf near the river Traun which winds down the valleys into … Continue reading Memorial Dungeons: In Thomas Bernhard’s House

Shadow-Time in Ritual In Transfigured Time (1946, Maya Deren)

Time is Maya Deren’s raw material. Though it could be argued that temporality is the material of all filmmakers to some extent, there’s something about Deren’s short work that captures a very earnest questioning of time passing and even as an unseen character of sorts. Like Andrei Tarkovsky, Deren used time to map the questioning of her of films; creating imagery that highlighted the temporal … Continue reading Shadow-Time in Ritual In Transfigured Time (1946, Maya Deren)

A Wander With Georges Perec

What can Georges Perec see out of the window? He’s sat as usual in Café de la Mairie, 8 Place Saint-Sulpice in the 6th arrondissment, hunched at his favourite single table by the window. More importantly, he’s looking outside. Life in the Latin Quarter is passing by outside as always; it never really stops, merely lulls. On his small, plastic coated table, he has a … Continue reading A Wander With Georges Perec

Skin On Stone – Grief in Three Colours: Blue (1994)

One of my favourite scenes in cinema is, in fact, not really a scene at all but a moment; a collection of three shots that has very little to do with the overall narrative but everything to do with the humanity questioned in the film.  The film is Krzysztof Kieślowski’s Three Colours: Blue (1994) and the moment is when Juliette Binoche, playing a woman in … Continue reading Skin On Stone – Grief in Three Colours: Blue (1994)

Responses: Poems On Landscape And Melancholy (Volume 2)

Throughout 2017, I have continued with the responses form of article to works of art and other miscellanea.  Like last year, I found that a more interesting way to assess a piece of work was to not simply write an essay but to pair it with a poem; condensing the essence of the reading down into a basic selection of key notes, reactions and atmospheres.  … Continue reading Responses: Poems On Landscape And Melancholy (Volume 2)

2017 Review

Like last year, I have tried to keep up with enough new releases to eventually have something say at the end of the year.  And exactly like last year, I have virtually failed to see ten new releases that I’ve actually enjoyed.  I quietly accepted once again that, with some notable exceptions, new digital films are not especially for me and require a huge crossover … Continue reading 2017 Review