"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)
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 of the definitive shifts to the more gritty, unremitting cinema produced in the early Heath … Continue reading Interview: Mike Hodges on Get Carter (1971).
On watching all of Patrick Keiller's "Robinson" trilogy of films recently, it struck home how effectively stillness within a visual frame can traverse the geographical plain and recreate a journey that is both political and sociological. This, of course, goes to the heart filmmaking itself, the relationships with cuts especially and its portrayal of time, … Continue reading Stasis In London (1994) – Patrick Keiller.
Because of their tapestry-like nature, the films of Luis Buñuel lend themselves well to a more in-depth form analysis. Within their aesthetic ploys and their narrative spines lies a wealth of readings concerning Buñuel's attacks and treatises on politics and class especially. His 1972, Oscar-winning film, The Discreet Charm Of The Bourgeoisie is a perfect … Continue reading The Nowhere Road in The Discreet Charm Of The Bourgeoisie (1972) – Luis Buñuel.
On finishing W.G. Sebald's four quartered documentary piece, The Emigrants (1992), there felt as if a loose connection to some recent film or book was hanging midair, waiting to be tied up. The narrative is split into the stories of four émigrés, all seemingly interconnected by a multitude of strange images but chiefly connected by … Continue reading Ghosts In The Ice: The Emigrants (W.G. Sebald) and 45 Years (Andrew Haigh).
Jean-Luc Godard has always had a quiet interest in the relationship between his politics and the space they inhabit. The topographies of modernity coinciding with his political questioning of capitalism occurs in films such as Tout Va Bien (1972), La Chinoise (1967), and Weekend (1967) - looking in particular at a factory, an inner-city flat/Maoist commune, … Continue reading Libidinal Circuits in 2 or 3 Things I Know About Her (1967) – Jean-Luc Godard.
British cinema is obsessed with the effect of location upon the individual. In fact, it wouldn't be so sweeping to suggest that large swaths of culture born on these isles stems from the idea that the individual can be deeply molded by their surroundings and any fictional drama from Albion will be bare the aesthetics … Continue reading Fear And Loathing In The Countryside – Withnail And I (1987).
Above is a showreel built from footage I've shot over the last twelve months. Compared to last year's showreel, this one feels far more defined and less haphazard with the visual ideas I want to play with. Gone are the mixtures of stop-motion, digital and film, instead replaced entirely by different stocks of super-8 footage. … Continue reading Showreel 2015.
Propaganda has morphed today and is now constant and lurking. It has performed the most astonishing vanishing act and become acknowledged as fact. The conglomeration of aesthetic impulses known predominantly as "the media" seems to have taken over its role as information and leaned its ideologies through a process of diffusion into the very being … Continue reading Foucault’s Heterotopia And The Dim Little Island (1948) – Humphrey Jennings.
British cinema in the early 1950s appears to have been fond of experimenting with other art forms. Powell and Pressburger were transplanting opera and dance into the form in their colour zoetrope Offenbach amalgamation, The Tales Of Hoffmann (1951) (and slightly earlier in The Red Shoes (1948)) whilst Laurence Olivier was continuing his melding of … Continue reading Murder In The Cathedral (1952) – George Hoellering (BFI).