“alternative”, “avant-garde”,“experimental” and “independent” - whatever.
How our tools change the way we work interests me most, and not just theatrical mainstream. For this Cinema Papers piece I selected from the first 54 issues of the Cantrill’s Filmnotes magazine talking about ‘alternate’ film and video technology.
As I rounded the corner I saw the road covered with white flying feathers and a splattered chook being picked up by a tall young man with a look of pain on his face. He crossed the road just in front of me, the early yellow sunlight on him against the dark road.
This captures a time of media change nicely I think. It was when suddenly it was cool to write about computers, and the advertisers rushed to The Age, Sydney Morning Herald and The Australian computer sections. That’s where I was writing.
I think Tony Sarno has created another monster, this one may be Godzilla and stomp across standard newspaper conventions, and it might have to battle to win its own audience. On the positive side, almost like Godzilla, there’s going to be a new episode every week and that’s a lot of opportunity to get it right.
“The road connects things, the road has the potential of the continually changing viewpoint, a different driveway every night. The only thing about the road that is frustrating, is that it would be terrific if you could turn a corner and really be in a different place. On the Internet you can do that with a simple link. Click on a URL and you are in some fantastic place you never imagined.” Dana Atchley
Dana said it was the best thing that had been written about him and he linked to it for years. Besides being flattered (after all it was just using his words) I like it too. He died in San Francisco on December 13 2000.
This started as a gallery of my toy robots until I began musing on why I collected them. That brought up all the usual stuff, god, drugs, sex, myths and creativity. It was originally made in Flash in 1998.
“With 8mm you have all the immediate potentiality of the powers of a sketch. You have that brevity, the quickness, the lightweightedness of the camera, that expendability of it. Nothing in the area of 8mm will ever be in the consideration for prizes or awards.”
We’d seen some of Conner’s movies during the Co-op days but it is this lecture by Stan Brakhage on Conner at the School of the Art Institute of Chicago, April 1973, that gives you a greater understanding of him as an artist. There’s links to videos.
In 1986, I heard that the legendary Colorfilm laboratory liaison Bill Gooley was dying of cancer. I had met him a few times so I knew had to tell his story for Cinema Papers. Somewhat anxiously I rang him to see if he’d like to talk for the Technicalities section.
A Polaroid to remember things by: editing from 1/2 Sony portable to 1/2 inch mains deck. TV sets were our monitors- using the RF (antenna) input not many had a video line input, couch cushions were our tilt bases.
These photographs were taken in a city jazz – folk club in 1970? Frank wasn’t expecting me (well, he was but he’d forgotten. I had asked if I could photograph him some days before) and he said he was happy to help a photography student. Video links included.