Traum a dream

"Traum A Dream ... can be designated as activating object, with all lines of thought and action leading through it. Traum A Dream is a film that comes out of a life-long experimental animation practice; a body of work that has been evolving over 35 years. This is now more than half the time I have carried a trace of the trauma in my real and lived-in body, some of the personal events, which I reveal here.
This film was produced at a time when I was coming to terms in my personal life, remembering abuse from childhood. Traum A Dream emerged after an unsuccessful attempt to lay bare that abuse in a previous project, which co-incided with the conclusion of my CD-Rom Diary V 3.2 production."

"A representaion of traumatised space depicting a person who is consumed by a body of pain, consumed by fire. Slowly something is remembered." www.innersense.com.au/mif/debruyn_films.html

Rote movie

"On the voice over de Bruyn places himself behind the wheel of a car, an appropriate metaphor for his expatriate driven reflections on his feelings of exile, distance and loneliness. Necessarily unintelligent memories highlight habitual subjectivity of "walking through a landscape alone", "gypsy", "victim". Images of roadsigns, cars, billboards, the passing landscape; elegantly simple rotoscope (by rote?) drawings, recopied and texturally manipulated filmic images; the inevitability of the repetition of leader. A tired, yearning, moving film." http://www.innersense.com.au/mif/debruyn_films.html

Boerdery

"A time-lapse document of a farm house in the Netherlands mapping the changing seasons, the light and shadows." http://www.innersense.com.au/mif/debruyn_films.html

Understanding science

"Understanding Science is about breakdown of meaning, breakdown of relationship, trying to exist in that space between meaninglessness and understanding, at its cusp, its node, its no-man’s land.. It is a melting pot of more than just fragments of images, there are clusters of things, ideas, sounds, words, that swim in and out of your attention. I wanted this film to be a dense multidimensional collage of automatic writing, sound poetry and abstracting strings of images." http://www.innersense.com.au/mif/debruyn_films.html

2nd Hand Cinema

A celebration of the offal of cinema, old films, old soundtracks, drawing directly on the film, using stamps and food-dyes to create discarded imagery. To chew film up and spit it out as painting direct.

Analogue stress

Made from reworked and reanimated found industrial and discarded personal footage. The main focus is the soundtrack which has been reconstructed from scratches, pen marks, Letraset strips and the music and phrases of found films.

Published versions: #1, #2, #3 are all slightly different to each other.

Folding history back onto itself

The history of artists working with the moving image constitutes a substantial dialogue with technology. The ability to construct a complex visual narrative from disparate visual material is a developed skill that is the product of such an evolving dialogue with technique. The use of found and stolen images and their re-processing within such an ‘experimental’ practice can be experienced as transforming the originating material and emphasizing aspects previously hidden. Such ‘shock tactics’ performed on historic material will be examined in the film work of Peter Tscherkassky (Dreamwork Austria 10 minutes 2001) and Martin Arnold (Alone: Life Wastes Andy Hardy Austria 15 minutes 1998). The traumatic effect of these films will be examined in relation to Maya Deren’s ideas of ‘vertical’ and ‘horizontal’ editing and Chris Brewin’s neurological research into traumatic remembering which proposes the interaction between two types of memory systems: SAM (Situational Accessible Memory) and VAM (Verbally Accessible Memory).