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The art of Randy Thom

 Sound designer (FW35)

Hybrids: Becky Edmunds
Thursday, 10 December 2009 05:00

Becky Edmunds - Still from Light Heat Motion In windswept late November, near the Brighton sea-front, I met with dance-trained screen artist Becky Edmunds to talk about her recent output; improvisation and videography and her highly distinctive camera practice. By Chirstinn Whyte

Chirstinn Whyte - I wanted to ask about your relationship to the landscapes in your work, particularly the recent residencies in Argentina and Swedish Lapland.

Becky Edmunds - I was invited to go to Argentina to do some kind of research and I needed to tell the Arts Council what I’d do. There were two things I was interested in. Firstly I was completely addicted to close-up and I wanted to see if going to a different environment that wasn’t the very small town world of South-east England would change my physiological approach to how I made work. If I put my body in a big space would something change: could I find my way to a wide shot, and to the body in wide shot? But also this question of what kind of movement language can I find that might sit within a landscape like that. When I got to Argentina, and went into these huge landscapes, I really found that I had no desire to place dance in there at all. I was interested in putting a body in there, and I’m very interested in how the body can somehow animate a landscape, so the Argentina work was really about finding ways of the body being in the landscape. Maybe walking, maybe just doing whatever it is it was doing, and me as a filmmaker behaving in a certain way in relation to what that body was doing.

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Representation of loss in European cinema
Filmwaves 35

With psychoanalyst Andrea Sabbadini we explore the second volume in a series on psychoanalytic reflections of European cinema, and specifically the theme of Loss in cinema. (full article)

Marco Zigiotti – In our previous interview we discussed psychoanalysis and film in relation to your book The Couch and the Silver Screen (FW). Can you please introduce this new book, entitled Projected Shadows. Psychoanalytic Reflections on the Representation of Loss in European Cinema, for us?

Andrea Sabbadini – Well, why European cinema, for a start. European cinema has always been my main concern, I can very much enjoy a lot of Hollywood movies or from other countries, but I always had the impression that European cinema had a particular fascination for us psychoanalysts insofar as its films tend to focus more on character than plot, more on putting across a message (and I am aware of generalising here) about ourselves, who we are, how we relate to each other, how we feel, rather than indulging in special effects. Another reason is that European films are poorly distributed in comparison with Hollywood ones.

Women and videogames
Filmwaves 35
Katie Ellwood, video game designer and filmmaker talks to Filmwaves about how women are changing the video game industry (full article)

Marco Zigiotti - What do you think have been the most significant changes in the video-game industry in the last 10-15 years?

Katie Ellwood - When I began in this game eight years ago it felt really niche. It was like the kids had been left to play with expensive computers and told to make something fun. There was a real sense of adventure and pioneering... but also a certain naivety and lack of business-mindedness (on the creative teams at least). We just let rip with the kind of games we wanted to play... which is all very well if you are a twenty something year old man (90% of us back then) but not great for the rest. I would say the industry has grown up... as have the developers. The games industry is more of a focus of media and market attention these days so there’s no slipping in-jokes in posters, or getting away with the odd bug. The budgets are growing, the teams are growing which means planning is key... we’ve definitely left bedroom-programming behind. It is a shame in someways but it’s the only way. As long as we keep a playfulness (and I promise you, most of the guys and girls I work with are far from grown up) the ‘growing up’ can be liberating too.

Marco Ferreri
Filmwaves 35

The crisis of contemporary man in the films of Marco Ferreri. By Donatella Valente (full article) 

Marco Ferreri was one of the most original and daring filmmakers on the Italian scene. He created a cinema of grotesque fantasy, characterised by surrealist themes and visions of an apocalyptic reality. Because of this bizarre mixture, his films were generally regarded as inaccessible, introverted, scandalous, outrageous or simply ‘ugly’. However, they also produced a certain amount of positive critical attention, both in Italy and abroad (especially in Spain and France). He also signed his films with established and well-known actors such as Ugo Tognazzi, Marcello Mastroianni, Annie Girardot, Michel Piccoli, Philippe Noiret and others.

Out of Tarr's universe
Filmwaves 34

A poetic look at the work of Hungarian film director Bela Tarr. By Nadine Poulain

While some people cannot stop talking about their work, others retreat into silence. Contemporary Hungarian director Bela Tarr belongs to the latter. Claiming that film is concrete and simple, he rejects our fostered urge for interpretation. Words hardly do justice to a work of art. In fact, when experiencing art, do they not feel most out of place? Does not the work fill exactly that gap that language cannot bridge? Instead of deconstructing Bela Tarr’s films the following essay aims to capture the uniqueness and intensity of his work. Meaning and interpretation is left to the individual. Film as experience. Endless rain Mud’s soft embrace Gravity, weight, physical being Black and white or rather an infinite graduation of greys We are in Bela Tarr’s universe. Slowly panning back and up, we see a man. Soaked to his bones, his hands in the pocket of his trenchcoat, head down, he walks towards us. Crater after crater, raindrops unsettle the surface of the puddles they form. A steep cliff on the upper, water on the lower part of the frame, in between a small path. The man walks along it. We are in nowhere land. Dry bushes, dead wood, rocks.
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Birds Eye View Film Festival 

March 4th-12th 2010

For more info: http://www.birds-eye-view.co.uk/