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S Mark Gubb
(Nottingham)
The Scooby Dead, 2003
6’ 15”
A Scooby Doo version of the the horror film, The Evil Dead, with images from the Scooby Doo cartoons digitally jigsawed over original audio from the film.
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Elena Näsänen
(Helsinki)
Drive, 2003
9’ 15”
A road movie following a lone woman’s cyclical journey in a snowy landscape. The sound of absent car chases, police sirens and violent collisions gradually drown out noise from the engine as the driver picks up speed on icy roads.
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Lucy Purdon
(London)
Douglas, 2003
10’
Douglas used to run a cinema, showing action movies from his home in Riruta village, Nairobi, Kenya, he called it “Studio America”. To Douglas the ‘American dream’ represents “absolute freedom”. Purdon’s ten minute documentary is a portrait of a Hollywood-mad electrician.
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Matthew Noel-Tod
(Norwich)
Jetzt Im Kino, 2003
11’ 40”
Jetzt Im Kino ‘(Now in Cinema’) brings together adapted texts from Laszlo Moholy-Nagy’s Painting, Photography, Film, Rudolf Arnheim’s Film as Art, David Cooper’s polemical psychology book The Grammar of Living and writings from and around Rainer Werner Fassbinder’s film The Marriage of Maria Braun into a hybrid narrative floating across the cityscape of modern Berlin.
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Elizabeth McAlpine
(London)
inverse blink “Don’t Look Now”, 2002
7’ 15”
The feature-length thriller, Don’t Look Now was watched and edited down to seven minutes and fifteen seconds to comprise only of the frames that the viewer missed by blinking.
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Part 2
Selected by Steve Hawley
Steve Hawley is an artist and Head of Art, Design and Media at Sheffield Hallam University.
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John Smith
The Girl Chewing Gum, 1976
12’
Distributed by Lux
In The Girl Chewing Gum a commanding voiceover appears to direct the action in a busy London street. As the instructions become more absurd and fantasized, we realize that the supposed director (not the shot) is fictional; he only describes, not prescribes, the events that take place before him.
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Sadie Benning
It Wasn’t Love, 1992
20’
Courtesy of Video Data Bank, New York (www.vdb.org)
Made using the Fisher Price toy camera Benning’s father gave her at the age of 15, It Wasn’t Love illustrates a lustful encounter with a “bad girl” through the gender posturing and genre interplay of Hollywood stereotypes; the rebel, the platinum blonde, the gangster, the 50s crooner, and the heavy-lidded vamp. Cigarette poses, romantic slow dancing, and fast-action heavy-metal street shots propel the viewer through the story of the love affair.
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Jane and Louise Wilson
Trailer, 1995
3 minute edit of Crawlspace
Courtesy of Lisson Gallery
An enigmatic anthology of uncanny images. Using film, photography and sculpture, the Wilson twins have created a series of highly theatrical and atmospheric installations that investigate the darker side of human experience. They first began working together in 1989, and have since been fascinated by the power of the unconscious mind, creating a body of work which probes collective anxieties and phobias, arouses unwanted memories, and reveals things which are usually repressed.
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Chris Garratt
Romantic Italy, 1975
8’
Distributed by Lux
Better known as one half of Biff cartoons, Chris Garratt had another short career as a filmmaker. Romantic Italy emerged like John Smith’s films from the London Filmmakers’ Co-op in the seventies but was characterised by Garratt as “film music”. The step looped print technique makes an unsettling and acoustically wonderful film.
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Martin Arnold
Alone (Life Wastes Andy Hardy), 1998
15’
Distributed by Sixpack Film, Vienna
A few movie seconds of a sentimental 30’s musical, transformed by computer editing into a strange Freudian musical of longing and unfathomable desire. |
