ภาพยนตร์

Jean-Pierre and Luc Dardenne profile a former electrical worker and his involvement in the production and distribution of an underground workers’ rights newspaper within his factory that led to his termination in the brothers’ early experimental TV documentary.

It's a short story about the characters from .hack// Legend of the Twilight meeting offline. It's more to hear than to see. It shows only backgrounds from the real world with the heads of the charater-game-avatars; but it reveals some interesting real life information about the characters. Sound Drama from .hack//Legend of the Twilight Bracelet, can be found on Disk 1 of the .hack Integration + Liminality Vol. 1-4 DVD box set.

Short documentary about an island.

Footsteps is in the manner of a game re-enacted, the game in making was between the camera and actor,the actor and cameraman, and one hundred feet of film. The film became expanded into positive and negative to change balances within it; black for perspective, then black to shadow the screen and make paradoxes with the idea of acting, and the act of seeing the screen. The music sets a mood then turns a space, remembers the positive then silences the flatness of the negative.

The story tells us about a young prince called Suria Kencana who was cursed and turned into a cobra by his step mother. As a result, he became snake by day and human by night. The magic spell can only be broken by a necklace, Panca Delima, that is worn by a kind hearted girl called Teratai. Teratai has two other evil and greedy sisters. One of them got herself killed when she was too greedy in plucking the gold leaf from the magic tree. The other was envious when Suria Kencana fell for Teratai. She stole the magic necklace and allied herself with Suria's step mother, hoping to get a big reward from her. Did Teratai and Suria managed to break the curse?

A surfer, filmed and shown on tv, refilmed on 8mm,and refilmed again on 16mm.Simple loop structure preceded by four minutes of a still frame of the surfer. An image on the borders of apprehension, becoming more and more abstract. The surfer surfs, never surfs anywhere, an image suspended in the light of the projector lamp. A very quiet and undramatic film, not particularly didactic. Sound: the first four minutes consists of a fog-horn, used as the basic tone for a chord played on the organ, the rest of the film uses the sound of breakers with a two second pulse and occasional bursts of musical-like sounds.

For this film I made a contact printing box,with a printing area 16mm x 185mm which enabled the printing of 24 frames of picture plus optical sound area at one time. The first part is a composition using 7 x 1-second shots of the statues of Versailles, Palace of 1000 Beauties, with accompanying soundtrack, woven according to a pre-determined sequence. Because sound and picture were printed simultaneously, the minute inconsistencies in exposure times resulted in rhythmic fluctuations of picture density and levels of sound. Two of these shots comprise the second part of the film which is framed by abstract imagery printed across the entire width of the film surface: the visible image is also the sound image.

Film No.1 is a 10-minute loop film. The systems of super-imposed loops are mathematically inter-related in a complex manner. The starting and cut off points for each loop are not clearly exposed, but through repetitions of sequences in different colours, in different ‘material’ realities (i.e. anegative, positive bas-relief, neg-pos overlay) yet in constant rhythm (both visually and on the soundtrack hum) one is manipulated to attempt to work out the system structure … The film deals with permutations of material, in a prescribed manner but one by no means ‘necessary’ or logical (except within the film’s own constructed system/serial.)

Shepherd’s Bush was a revelation. It was both true film notion and demonstrated an ingenious association with the film-process. It is the procedure and conclusion of a piece of film logic using a brilliantly simple device; the manipulation of the light source in the Film Co-op printer such that a series of transformations are effected on a loop of film material. From the start Mike Leggett adopts a relational perspective according to which it is neither the elements or the emergent whole but the relations between the elements (transformations) that become primary through the use of logical procedure.

Girl dressed up as a boy falls in love with a painter.

Melodrama about a girl brought up by a stepmother.