A look at the opening night of the exhibition, and some of the display.

Starting with the Super 8 sections, this is to explain why I think, as an aging man, this images archive is worth saving. I’m expecting this to change as I get to my later videos, and again as I get to digital, but let’s start here. Why do I archive?
It’s to put off as long as I can, that time just as an anxious Seamus Heaney was, when
‘the memorable bottoms out, Into the irretrievable.’

I’m working on the Standard 8mm 4k scans from Sam Woods collection. These three photographs show an original 4IK frame-capture jpeg, one with a Topaz AI enhanced Face and to me, a more acceptable compromise as a blend done in Photoshop. Click on each to see on black background, use back button to return. Watch […]

I’m making a series of short films based on the geological map of the Murray River area where I grew up. This is the first about the lane that lead from our house to the Butter Factory

Dr Woods conducted the post-mortem to this murder that had all the salacious ingredients to keep the story in the tabloids for a year.

All the 8mm transfers, on one page.

Instead of waiting for the folders on my archive hard drives to fill up before editing, I’ve been making these short films while I still remember what I wanted to say. Don’t fret about them.

A collection of quotes from my reading that say something about memory that resonate and I probably won’t remember.

This film was made for a competition, I think run by Melbourne’s The Age, or maybe it was just that their film reviewer Colin Bennett was the judge. It was never finished in time for the competition, and then became a document of a Corryong High School Open Day.

I worked at a local chemist camera counter to pay off my first standard 8 camera. They offered me the job when I asked about the price of one in the window. My parents gave me a first roll of Kodachrome and I started this film.

I was reminded of Avendon and Baldwin by a Monoskop reference to the book ‘Nothing Personal’. I had this paperback copy because, well, at the time (late sixties) to be up with pop-culture, you had to.

I probably first heard of Charon from Robert Graves “Greek Myths” but ‘paying the ferryman’ is, at least in my generation, a common term.  In the back of it all is the love story of stupid Cupid and the silly, mortal Psyche. I made a video.

After a hippie era testing of ‘magic’ psylocibe< mushrooms when I was violently ill, (trippy but ill), I'll pass on testing the fly agaric's hallucinogenic qualities.

A 4×3 scan (from my cheap scanner) sitting in 16×9 widescreen tv frame. The black ‘sidebars’ and top and bottom black detract in a standard TV screen presentation – 1920 x 1080 – but are true to the original. This is barely a HD quality scan. A 4K scan, transferred ‘Overscan’ with the top and […]

I was a Beatles fan much like everyone my (teen) age at Corryong High School, I wanted to let my hair grow, and I wanted to see ‘Hard Days Night’ .

“There ought to be texts on the subject, authoritative texts that would enable one to deal with these situations, far commoner than is generally believed.”

I could never say I love them. In fact I was brought up to hate them and like a lapsed Catholic still feel there is an original sin that I’m denying by appreciating their beauty.

Basho’s travel writing give us insight into what drove this poet to keep searching for meaning and enlightenment. It inspired lots of experimental film titles, including some of mine, here’s one. Explained.

I took a roll of 35mm images around my parents La Trobe Cinema and lent them to my mother, both now long gone. These are from a 4fps film of the day when Jim Lawrence leased it to my parents in June 1973. That I still have.

We need our computer folk heroes, and if they come with an air of danger around them, it restores the feeling that we were on the digital frontier. Another story from MM, for the last print issue June 1995.

Artist Bill O’Donovan came into the MM office with his folio, just as we were doing our last print issue, so we couldn’t offer him any work. All we could suggest was, that he stick around, and we’ll do something together on the web.

What could be more romantic than a boat trip down the Yonne river? A cemetery of course. This was the start of the journey. Look out for the locks! Video coming soon.

In June 2009 visiting Jan’s friend Jane, who was working in Alice Springs, we drove out to Hermannsburg Mission, known as the home of, and the landscapes of painter Albert Namatjira.

There were lots of filmmaker friends and even cameras we passed around, so the results are of variable quality. I’m grateful to have all this. In spite of omens there’s happiness here (and a lot of hair!)

In 2016, a group of the original 1966 RMIT SRC were invited back for a 50 years Anniversary. I said yes, and I’ll take some video. People change in fifty years, some more than others.

“Today everything is archive and everyone an archivist. People everywhere constantly create, collect, document, make lists, inventories, classify, store, retrieve, and reuse all kinds of information.” Here’s a look at forgetting things.

Mike Kuchar came to present his and identical twin brother George’s films at the Coop. We introduced him to a few of our filmmaker friends – the Super 8 movie shows a night at Michael Lee (and Magda’s) house and recording a video interview.

Hugh McSpedden was always part of the Melbourne alternative film community from the early days of the Film Co-op. His light shows were integral to the T.F. Much Ballroom and other concerts I attended. I’m finding bits in my film archives of him, so I’ve started this page.

“Truffaut’s ‘The 400 Blows’ was only the setup. ‘Breathless’ was the knockout blow. If ‘The 400 Blows’ was the February revolution, ‘Breathless’ was October.” Richard Brody.

What’s hard to remember is that we had little option for portable digital image storage other than floppy disk, or limited built-in RAM. This was my first digital camera, recording stills, movies and sound on a mini CD.