Living in the World

Film is made out of gelatin that comes from horses. They’re waiting to be slaughtered, so that pictures can be made. Many years ago we learned the language of our masters. Though we couldn’t help wondering why so few of you bothered to learn ours. Three scenes featuring horses, remembering Jacinto. The first is a daytime forest haunting that winds up at a carousel, the second a rainy street in Portugal, the finale a nighttime vigil of fire and water.

What kind of power is accessible through the discovery of a voice? Morgan Quaintance interlinks two anti-racist and anti-authoritarian liberation movements in South London and Chicago’s South Side with his own biography to explore what happens when speech is ignored, and the voice fades.

Acting as part ode and through a series of interpretations, Claudette’s Star depicts young artists considering with sheer wonder who is given a voice.

A short film exploring the polyphony of collectivity in the desires, motivations and stories that foreground the histories and present(s) of Black British sound. Collective Hum documents a collective in practice through the operation of B.O.S.S using multiple narration, overlapping voices and the sound of group interviews, meetings and events to create a polyphonic score to soundtrack images of the ‘collective bodies, kinaesthetic experience and gestural language’ of sound system culture.

Sepia toning lends a romantic (even wistful) quality to Larry Jordan's film Visions of a City, which he shot in San Francisco in 1957 and edited in 1978. The pace is un-irritating, in contrast to the San Francisco of today; but unlike the equal weight Helen Levill gives to all her subjects, there is an internal evolutionary development in the Jordan film that ultimately delivers a story. Until the introduction of the human protagonist, poet Michael McClure, we are treated to an extravagant display of visual delights.

Two generations dialogue through the images they filmed of their children, a reflection of the emotional bond that arises from their involvement with what was shot.

Mick Glasheen, an architect and pioneer of early cinema and experimental film, created work that was heavily influenced by media theorists. His video Teleologic Telecast from Spaceship Earth: On Board with Buckminster Fuller, 1970, is a re-mixed recording of a Buckminster Fuller’s lecture given at UNSW, presenting Fuller’s ideas on science, metaphysics and the universe, merged with just as radical techniques of moving image production, creating a multi-layered expression of image, voice, and sound.

A further endulgance into analog media

A man narrates stories of his life as a 10-year-old boy in 1969 Houston, weaving tales of nostalgia with a fantastical account of a journey to the moon.

The film in a metaphorical form demonstrates a model of self-devouring in a closed spiritual system, it explores intermediate state between a human and a non-human: a subhuman deprived of a divine spark.

The film purports to be the second version of a (fictional) film made by Baudelaire in 1850 in memory of his (actual) voyage across the Pacific. It was shot using a world map mounted on black board, filmed in its entirety and in extreme close-up.