|Promotion for the first|
Hobbit instalment assuming
Stalinesque dimensions in
Wellington, early in 2013.
Less is more, indeed?
My Trnka piece appeared in Senses of Cinema under “Cinémathèque Annotations on Film”, indicative of its having been written to provide contextualising accompaniment to Melbourne Cinémathèque screenings of certain of Trnka's sublime puppet animation films. Moreover, I had made it a personal mission to get those films over here in the first place, through becoming a Cinémathèque committee member after enjoying many a long year as a dedicated regular at the Cinémathèque's Wednesday nightly screenings, and as she whose task it had been for many of those years to prepare the annotations for publication in Senses of Cinema in my role as that journal's tireless, seldom-complaining Web Designer.
|Trnka's sublime A Midsummer Night's Dream (1959), which screened at the 1st CaSFFA,|
presented in conjunction with the Melbourne Cinémathèque
|The Sun in a Net also appeared at the 1st CaSFFA, co-presented by the Melbourne Cinémathèque|
and with large thanks due to the enthusiastic co-operation of the Slovak Film Institute
|Excerpt from the June 30 edition of the|
Karlovy Vary Festival Daily
Guy Maddin is a filmmaker almost invariably overlooked in the consideration of zombie films. This essay aims to right that wrong, not only by dredging up multiple clear instances where Maddin has explicitly employed the tropes of zombie films in his work, but also in demonstrating that, in fact, the entire cinematic corpus of Winnipeg's most celebrated filmmaker is predicated upon exhumation, on and off the screen. Maddin is forever resurrecting long dead film aesthetics, language, genres, performance styles and even entire lost films, whilst ever privileging an aesthetic of impossible material agedness and decomposition. His is a cinema full of somnambulists, amnesiacs and entranced obsessives whose actions resurrect elements of Maddin's often traumatic autobiography. It is a cinema absolutely bursting at the seams with zombie-ism and undeath. Maddin himself will be positioned both as zombie and zombie master, à la Bela Lugosi's 'Murder' Legendre in White Zombie (Victor Halperin, 1932). Moreover, his cinephilic audience, extensible to all cinephile audiences, will be implicated in zombie-ism as well. Ultimately at stake in this essay is nothing less than an argument for cinephilia as an entirely zombie fascination, with Maddin, one of the most cinephilic of all filmmakers, providing the perfect springboard for this argument. Along the way, analogues for Maddin's zombie film practices will be explored variously in the limitations of method acting, in the writing of Laura Mulvey and in the vexing matter of film canons.
But for now, till 2014, ahoj!