Programme
Intraference / The Comet Suite - Barry Hale, Dan Powell (2011, 6’ DV, UK) ‘The sound is loosely based on 20 of the periodic comets. Although I can't pretend that any of the source material actually comes from the comets themselves, they were my inspiration for producing 20 1min 30s pieces using found sounds in my studio, broken musical instruments and heavily processed sine waves. All the audio was processed in Audiomulch on an ancient laptop.’
Drill Bits - Ian Helliwell (2011, 4`45” Super 8mm, UK) Using a very small electric craft drill with different attachments, parts of the emulsion of black super 8 film were carefully etched away. Colour was added with felt tip pens, and the soundtrack created with the Hellisizer 1500. http://www.ianhelliwell.co.uk/
Glass Flesh Kiss - Simon Mclennan (2011, 2‘42” Super 8mm B+W, UK)
Several hundred charcoal drawings animated using Super 8mm film. The drawings arose from simple motifs taken from kitchen utensils. Found sound and manipulated voice recordings along with guitar and piano were composed to coincide with edits in the film.
http://vimeo.com/user5145527 www.themouseescapes.co.uk
EMS 8 - Ian Helliwell (2008, 2`45, Super 8mm,UK) Super 8 animation designed as scene setting inserts to evoke the 1960s, for an Australian film on innovative British electronic instrument manufacturer EMS, creators of the VCS3 synthesizer. The documentary `What the Future Sounded Like` featured only a small section of the animation, so Ian assembled all the unused sequences and created a soundtrack with his own self-built synth, the Hellisizer 2000.
Park House - Simon Mclennan (2010, 2'37" Super 8mm, colour/B+W, UK)
Park House is a B&W and colour Super 8 film shot in London and Cumbria. Dealing with half remembered images from the film maker's childhood in Lakeland, and impressions of contemporary urban life, a semi-random method was used to assemble the montage. The spoken poem was inspired by an incident from the artist's childhood in the village where he grew up in the late 1960's.
Wud - Sean Reynard (2002, 2’3” DV, UK/Germany)
Pineapple juice drinking bearded homeless in the forest.
Sean Reynard considers himself neither Artist nor Filmmaker, he hovers menacingly somewhere in between. After being away from the UK for 11 years in Germany then Australia he made the transition from making sound installation/sculpture and improvised music, to concentrating solely on making short films. However, his sound-related background plays an important role in his filmmaking. He also has a keen interest in many filmic styles and techniques, spanning music videos, TV commercials, to feature films and documentaries. His intuitive approach gives the films a raw and spontaneous feel, allowing room to explore the dynamic tension between a variety of different characters. Dark undercurrents develop out of seemingly normal situations, bringing out the absurd in everyday life. http://www.youtube.com/user/raghard
http://www.funnyordie.com/run_run_reynard
A Million Different People - Michael Szpakowski (2012, 4’41” DV, UK)
'I’m going to enter a remix competition every month, from Aug 2011 to Aug 2012. I’m 54 years old and although I’m musically reasonably deft I know little about the culture in which I’m attempting to intervene...
Constructed entirely of appropriated footage, quite a lot of it of Noh plays, subsequently heavily manipulated by me.” http://www.youtube.com/watch?v=Fjbro8vzed4
Kamikaze - Carolina Diaz (2008, 7' DV, UK)
Influenced by Butoh and expressionist dance, Kamikaze shows a dream-like psychological landscape, populated by surrealist imagery and haunting sounds. It is a search around the principles of 'impermanence' and 'fixation', and also on the relationships between body, image, sound, light/darkness and costume.
www.eleusis-arts.co.uk
Caveo Vestri Mens - Simon Mclennan (2012, 4’13” Super 8mm B&W, HDV, UK)
As the media maintains a hegemony of representation, so by scratching a film we may seek to renovate that which is damaged and misrepresented by removing the exposed emulsion. Charlemagne required the clergy to adopt the repertory of Gregorian Chant on pain of death: another hegemony, despite its intrinsic beauty.
Not To Go and Not To Stay - Andreas Wutz (2005, 5’ 16 mm, bw+color, opt. sound, CZ/D) A short film about an inner conflict of enforced voyage or migration, the simultaneous wish to stay in a place as well as to leave it. The film is based on a notice of a dream by Franz Kafka, which describes travellers carrying their clothes to their suitcases to be packed. Surprisingly they do this not privately at home but in the public, at the railway station and finally miss the train. The scene in the film is framed by the image of a noisy flag pole at night and a coastal observation tower together with a long wave weather forecast. www.tortoisebox.org/andreaswutz
Maybe We Can Listen To The Rain / Without Always Thinking About Rain - David Grundy (2011, 4’54” DV, UK)
takes its title from lines by the poet J.H. Prynne, and deals with the relation between sound and signification that those lines suggest. Quite literally, I decided to place the recorded sound of rain with images of a different weather, to test out those lines, to see if we actually could listen to the rain without thinking about rain. The relation between image and sound, and the attendant potential for manipulation and falsification of both visual and audible elements is something central to film as a medium; while this particular film is at the most gentle in its negotiation with that problem (the patter of rain as a kind of comfort, when heard from indoors; the hum of disguised sine wave or freezer noise meshed in lulling drone), the ending flush hopefully awakens some ruder or sharper reflections.
http://eartripmagazine.blogspot.co.uk/2008/09/eartrip-issue-2.html
Traffic Flow - David Grundy (2011, 4’04” DV, UK) Features live soundtrack
Traffic Flow is put together from footage shot on a digital camera: the 'lo-fi' look arises as much from circumstance as from intention, but, as with free improvisation, you have to work with the resources to hand. Filming car headlights from a motorway bridge, I was struck by the way that they began to resemble an illuminated snake moving through the surrounding darkness. The film attempts to capture, and build on, this rhythmic quality.
Live Butoh Performance - Carolina Diaz (10’) With live improvised soundtrack by David Grundy
Carolina Diaz is a butoh dancer, book artist and visual artist. She has performed with Butoh UK and Yumino Seki and creates solo improvised work both live and for the camera. She cites Atsushi Takenouch as a major influence. http://www.eleusis-arts.co.uk/
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