Frames

'The film is a mixture of flickery, letraset, light, scratching and hand-drawn colour. So rapid is the movement that it makes you wonder at times if you are looking at an image or its afterimage. Could a film like Frames be damaging to your retinam or neurological functions? if you sat in front of this type of film long enough, would it send you on a trip? Could it awaken a patient out of a coma? After a confronting seven minutes I felt exhausted and slightly frazzled. Such is the power of the film' Glen Hannah in Filmviews Number 130 p28 1986

Recovering the hidden through found-footage films

In the early nineteen seventies materialist experimental film was cogently rejected by feminist theorists for its inability to deliver a feminist counter-cinema addressing its political agenda. The concomitant development of feminist psychoanalytic readings of “dominant cinema” against its grain also discounted such work. This split is marked by Peter Wollen’s formulation of “two avant-gardes”, one narrative and explicit about its political position and the other non-narrative and focusing directly on implicit perceptual processes. Materialist film’s fixation on structure jettisoned content, and extended post-war painting’s essentialist move to pure abstraction manifest in abstract expressionism and minimalism. The emergence of trauma theory and the recent explosion of moving image digital media with its non-linear bias and the complex layering of “technical images” have created a new situation opening up alternate readings of such discounted materialist practices. As well as a historic precursor for digital media, it is suggested that a materialist cinema, represented here by the found footage films: Alone: Life Wastes Andy Hardy (Arnold 1998) and Dreamwork (Tscherkassky 2001), signposts a belated return for materialist film within the context of trauma studies. This materialist turn rescues such experimental film from its traumatic excision and extends an understanding of what has been termed a “trauma cinema” by Janet Walker. Rather than pure, abstract or visionary such practice is read here through trauma theory as performing implicit mechanisms of denial and erasure.

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.

Program notes: Scratch Film Festival. UWA. Perth 1997

Unsung oz hysteries

The screening and funding opportunities for Experimental film in Australia has always had a problematic and underground history since the 1960s, moving through 16mm, super 8 and now digital moving image forms. One source of that history was Cantrills Filmnotes which expressed the rhetoric of a founding generation who experience the promise of a new Australian National Cinema and new film culture in the 70s, but whose mainstream product eventually left it behind. Experimental film inherited a marginal position through a lack of critical debate and because funding shifts left its identity somewhere between the fine arts and commercial cinema. It was consequently viewed as marginal to both. The general visual quality of this work meant it was perceived as apolitical, although it implicitly expressed and performed the denials and negations experienced directly by the migrant and working classes.

Through several cycles of emerging generations of artists (through such organizations as Fringe Network, MIMA and Experimenta), such artists knew more of the histories of work emanating from Europe and North America than their own, a general problem for Australian history. New underground opportunities are now arising to connect with the emerging and aspirant cultures coming out of Asia that reflect the shifts of global capital and the rise of China as an economic power. Asian work, registering a history of aspiration offers a re-integration of Peter Wollen’s avant-gardes split from the early 70s in the West. In the academy the Avant-garde’s strategies and techniques are studied, but are offered up in new work as aesthetic and lifestyle choices, rather than as the political imperatives announced implicitly or explicitly in their originating forms.

Oz@1950

This short film re-edits Australian historic newsreel footage to present the point of view of the migrant arriving into Australia in the 1950s.

Experiments

Projected on two screens, with two separate soundtracks, the always exceptional, and occasionally brilliant, photographic images are enhanced by Dirk de Bruyn's rigorous control over a wide variety of experimental techniques.

Without overindulging in any of them, de Bruyn uses animation, optical illusions, time lapse, solarization, hand tinting, flash frames, refilming and flicker effects, accompanied by a dense atmosphere of word puns, dialogue, primal screams, music and even recycled and letraseted soundtracks.

i1234m

In experimental film-artist Dirk De Bruyn’s work, these gestures of syntactical erasure can be understood as a poetic practice which seeks to grasp preverbal early childhood states – an (inevitably futile) attempt to excise meaning from experiences, before language and its attendant comprehension of the world. De Bruyn attributes this impulse to his early immigration from The Netherlands to Australia, and the confusion he experienced in the consequent liminal space between cultures, identities and languages. His tumultuous performances, which typically begin and end in darkness, combine urgent vocal utterances – hollering, screaming and chanting – with the sumptuous illumination of projected film. De Bruyn’s vocalisations meld with and amplify the images’ blooming fields of colour and intricately layered, hand-animated imagery. At Gertrude, Dirk will perform a new work for three 16mm projectors and voice entitled ‘i1234m’.

Performing erasure

This presentation examines my abstract films from my ongoing 16mm and digital experimental film practice, e.g.: 223(1985, 6 mins), Migraine Particles (1984, 12 mins) , Understanding Science (1992, 18 mins), Rote Movie (1994, 12 mins), Trauma Dream (2002, 7 mins) and Analog Stress (2004, 12 mins) as expressing a process of erasure, a method employed to construct a gutted and marooned identity. It rereads the essentialism of Modernism as laying bare the mechanics of erasure and denial and Peter Gidal’s anti-illusionist ‘Materialist Film’ as a practice outlining the structure of trauma, and the nature of traumatic memory, described as dissociative in Pierre Janet's early work.

24 tweets per second: a dialogue on Jorge Lorenzo’s On the Road by Jack Kerouac

Jorge Lorenzo Flores Garza’s On the Road by Jack Kerouac had its Australian premiere in July this year at the Walker Street Gallery in Melbourne. It screened as part of the ‘Outside the Outside’ series curated by Dirk de Bruyn and Glenn D’Cruz, and was introduced by Steven McIntyre.

On the Road by Jack Kerouac is the most recent work by Mexican filmmaker Jorge Lorenzo, whose previous 1/48” (2008) was listed in Cahiers du Cinéma’s top 10 most subversive films of all time. Somewhere between a book on a film, and a film of a book, Lorenzo’s work is an exact re-typing of Jack Kerouac’s On the Road, made by threading a continuous roll of 35mm negative (like Kerouac’s original scroll) through a Olivetti typewriter.

History is our audience

History is our audience is intended to interrogate the role of the audience, history and community within experimental artist run initiatives and contemporary art organisations.

The performance of trauma in moving image art

With reference to recent neurological research into Post-Traumatic Stress Disorder (PTSD) using new imaging technologies and models of implicit and explicit memory systems developed from this research, The Performance of Trauma in Moving ...

Out of the frying pan, into the fire : Cantrills Filmnotes as Prestige Machine

This examination of the gaps and ambiguities linked to Cantrills Filmnotes (CF), an Australian publication on experimental film, offers a case study on the production and ownership of Pierre Bourdieu’s 'cultural capital' in film art at the margins, witnessed first-hand. CF emerged at the intersection between the street and the academy, spanning that period from the 70s till its abandonment in 2000 during which, it is argued here, it migrated from the former to the latter. This examination surveils, in retrospect, for whose benefit was the magazine's accumulation of power, status and prestige exercised, in whose service was it exacted? CF’s manifesto-like editorial rhetoric was often directed at perceived shortcomings of those institutions servicing film art in Australia. What is revealed when such a critical eye focuses on the production of Cantrills Filmnotes (CF) itself? CF's cultural production has a further dimension of both taking on and taking place inside a colonial mind-set, a cultural cringe often the subject of editorial commentary, elucidating a practice residing at the geographic margins of a marginal arts practice. The founders and editors of CF, the married couple Corinne and Arthur Cantrill both suffered and benefited from CF’s impact on this international field of art production.

Found found found : Films and videos by Dirk de Bruyn

Rote Movie (1994, 16mm, 12 min.)Understanding Science (1992, 16mm. 18 min.)Death Of Place (2013, digital, 14 min.)Empire (2014, digital, silent, 8 min.)Found Found Found (2014, digital, 18 min.)