BARGEHOUSE – Room 11 – 7 & 8 June 2017
FESTIVAL SELECTION A
Lucy Harris, Germany, 2013
Crossing Points, filmed in the 1936 Berlin Olympia Stadium and the Kuppelsaal, exploits the interplay between memory, history and architecture. Through the interweaving of these empty venues with two fencers performing a series of choreographed gestures, a dialogue between architecture and legacy is created. Olympic venues exist in contradictory states: designed primarily for intense action, but surviving in a state of suspended anticipation, part-functional, part commemorative – the architecture acting as ‘witness’ to the athletes/performers and subsequent histories. ‘Crossing Points’ is an aesthetic and spatial investigation into the relationship between the sporting figure, history and architecture.
Di Hu, China, 2016.
This film depicts a geographical, architectural, and urban research study of a specific area in Shanghai.The reason why I chose to depict this area is that it strongly resembles the Grand Palais area in Paris. From an emotional standpoint, I have a deep attachment to both cities, having lived in both for many years. On the more practical side, I have made this film to express my concerns regarding the urbanisation and globalisation of Shanghai, elements of which have turned Shanghai into a science-fiction like landscape through the blending of pre-industrial and hypermodern elements. The images presented in this film are not meant to be viewed passively, I want the audience to observe and think through the subject matter freely.
3 CHURCH WALKS
Emily Richardson, UK, 2014.
3 Church Walk is a film about the modernist architect H.T. (Jim) Cadbury Brown’s Suffolk house that he and his wife Betty Dale designed and built in 1962 on a site originally ear marked by the composer Benjamin Britten for the Aldeburgh Festival of Music and the Arts’ first opera stage. H. T. (Jim) Cadbury-Brown was a British architect best known for his contribution to the design of the iconic Brutalist development of the Royal College of Art, and earlier work on pavilions for the Festival of Britain in the summer of 1951. The film is a journey through the house in its abandoned state as he left it when he died in 2009. The soundtrack is composed from recordings of the objects, surfaces and materials of the house, playing the house as if it were an instrument, much in the same way as Britten played car springs or tea-cups for his compositions, The Burning Fiery Furnace and Noye’s Fludde.
Emily Richardson, UK, 2015.
Beach House is a film about a unique example of rural modernism, built on the UK coast of Suffolk by architect John Penn. Penn was an architect, painter, musician and poet whose nine houses in East Suffolk are all built with uncompromising symmetry adhering to the points of the compass in their positioning in the landscape they use a limited language of materials and form that were influenced by his time spent working in California with Richard Neutra. They are Californian modernist pavilions in the Suffolk landscape. Beach House is John Penn’s most uncompromising design in terms of idea as form. The film combines an archive film made by Penn himself on completion of the house with experimental sound recordings made during the same period and material recently filmed in the house to explore a convergence of filmic and architectural language and allow the viewer to piece together Beach House in its past and present forms.
LAST DANCE ON THE MAIN
Aristofanis Soulikias, Canada, 2014.
An animated documentary on the demolition of a row of historic buildings on Montreal’s St Laurent boulevard – also known as “The Main” – by politicians and building developers, and the resistance put up by the burlesque artists and the local community.
LA CONDENA (The Sentence)
Marc Nadal Manzanares, Spain, 2015.
Based on real history. In 2014 there were and average of 189 evictions in Spain daily, 2 evictions every 15 minutes. This eviction was carried out at 5:00 PM.
FROM LIGHT & SHADOWS
Alexander Nevill, UK, 2016.
“The effervescent superfluity of light is one of the entropic instances to which we seek to bring order… Control over light, and its mediations through visual technologies, matters because it alters the constitutive grounds of sensing, knowing and relating to one another and to the world.” Sean Cubitt (2014, p.11) In this short meditative film essay illumination pours through an archetypical window mimicking the progression of sunlight throughout a day. Ambient noises of a bustling cityscape beyond the visible frame ebb and flow with the passage of illumination while French and English narration collide reciting a translated passage from the musing of revered cinematographer Henri Alekan. Created as part of my practice-led PhD which explores the journey of illumination from the source of light through to how and why the audience may engage with the moving image as parameters of its capture and display progress.
Ollie Palmer, France, 2016
A palindromic film about the production of fake news and fake profits, and the impacts they have on the people who produce them.
W and M see the world differently. For W, a low-level government propagandist, objective reality is an illusion. Truth exists on a gradient and can be manipulated and distorted. For M, a financial executive, the world of business is a large image-making machine. Every business deal is just another set of mirrors or lenses to position. These abstract world views creep into the lived experiences of both characters, with unexpected consequences.
This film is experimental. It is a mirror, playing forwards and backwards simultaneously, the characters’ worlds intersecting halfway through. The production techniques were adopted from real Russian propaganda agencies, covertly filmed in false locations, Paris standing in for Seoul. The entire form of the film and its production accurately reflect the characters’ abstracted world-views.
Adam Kossoff, UK, 2014.
Narrated by Lenny Henry, Animal Architecture tells the story of Dudley Zoo, a World Heritage Site, and the restoration of its unique modernist animal enclosures. Shot on 16mm film it emulates the black and white documentary style of the 1950’s Free Cinema movement and shows how Bernard Lubetkin’s 1937 designs gave as much importance to the architecture as they did to the welfare of the animals.
FEATURES FRACTURE FRAMES
Thomas Parker, Thomas Pearce & AA Students, UK, 2016.
FEATURES FRACTURES FRAMES is an ongoing research project that explores 3D Lidar scanning, feature recognition algorithms, generative drawing and rule-based editing as filmic techniques. It disobeys the spatial continuity, unity and realism of 3D scanned scenes by re-imagining geometrical features not as conventional references for scan alignment but instead as temporal pivots in spatially fractured sequences. In its knowingly absurd taxonomic pursuit of formal similarity of geometrical features and their obsessive structuring in frequencies and frame counts, it blurs reality, fantasy, time and space. Common three-dimensional features between geographically and thematically unrelated point clouds provide continuity in a rule-based montage that jitters between scales, locations and coordinate systems.
The film was produced during a one-day student workshop at the Architectural Association.