Tainted waters passing under a bridge

De Bruyn, Dirk 2018, Tainted waters passing under a bridge, Montreal, Quebec, 2018/06/17 - 2018/06/17, Montreal, Canada, Visions and La Lumiere Collective.

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Title Tainted waters passing under a bridge
Creator(s) De Bruyn, Dirk
Conference, exhibition or event name Tainted Waters Passing Under a Bridge
Conference, exhibition or event location Montreal, Quebec
Conference, exhibition or event dates 2018/06/17 - 2018/06/17
Publication date 2018
Description of resource Tainted Waters Passing Under a Bridge by Dirk de Bruyn This program of 16mm and digital films documents Dirk de Bruyn’s passage through analog and digital practices from 1985 to the present. It addresses his overlapping interests in the shock of abstraction, pattern recognition and trauma, expressed through marginal filmmaking practices. The migrant and outsider experience lurks underneath these fractured narrative, flicker and found footage films. 223 5.00 minutes 1985 16mm direct on film Analog Stress 14.00 minutes 2004 16mm direct on film Found Found Found 18.30 minutes 2014 Essay film East Meets West 4.30 minutes 2015 direct on film New Australian 8.30 minutes 2016 found footage Dissociation 8.00 minutes 2016 direct on film Living in the Past 5.00 minutes 2018 stereoscopic flicker Total: 63.5 minutes
Publisher Visions and La Lumiere Collective
Place of publication Montreal, Canada
Summary This is a retrospective of my work, which places it within a narrative of denied trauma.
Notes Found Found Found (2013) 18:15 https://vimeo.com/84353101 Through time-lapse and pixilated animation, recorded on the run through Serbia, Europe, international air travel through Australasia, and including recordings at the 2013 Christmas Markets in Dusseldorf, this short roaming personal narrative contemplates our current pre-occupation with mobile technologies and the concomitant reshaping of everyday life and public space. It features one extreme response to technological and political change: Alex Jones’ Infowars radio program. The film suggests surveillance, metamorphosed from avant-garde and minimalist cinema, as the ‘new norm’, and witnesses the new stasis that hypermobility institutes globally and the florid thinking it elicits. WAP (2012) 9:36 https://vimeo.com/110675482 Password: dirk@deakin.edu.au WAP stands for White Australia Policy, a racist policy which limited migration into Australia into the 1950’s. This policy can be read as a marker of the guilt surrounding the Aboriginal genocide that had blotted white settlement of Australia since its inception. This film reframes historic material to allow the voices of the deferred and dispossessed to speak their trauma, speaking often through the bodies and voices of the oppressor to reveal the unspoken truth. Recover (2017) 8:29 https://vimeo.com/196390752 Password: dirk@deakin.edu.au Recover splits its two meanings and pits then against each other. A Janus-faced melting pot of dust, sentence fragments, gestures and flash frames. This Found Footage Film is a technological situation, a black hole devouring itself. It is a cancer in denial of its own narrative. Recover salvages the lingering fragments of a lost indigenous history through the very act of burial and registers the subliminal emblems of that abuse. New Australian (2015) 8:18 https://vimeo.com/148962270 Password: dirk@deakin.edu.au Found Footage film that explores the implicit racism inside the 1950's term 'New Australian", used to describe migrants to Australia in the 1950s. Re-Vue (2017) 5:58 https://vimeo.com/197273843 Password: dirk@deakin.edu.au Re-vue is a mutilated love-letter to the film’s form in address to the the act of seeing itself. It is shaped as a response to, and in dialogue with, Mike Hoolboom’s Color My World ( 3 minutes, 2017, Canada) A flicker-fest lamenting a lost relationship with narrative cinema, by which it is forever marked. Yet there are hints for a way back in this age of surveillance. Empire (2014) 7:47 https://vimeo.com/86643995 Password: dirk@deakin.edu.au Empire re-animates found historic stereographic photographs predominantly of Melbourne’s city centre between 1927 and 1940 when the colonial trace was slowly receding to produce a stereoscopic effect. Melbourne’s main Flinders Street Intersection is unsettlingly transformed into a Cubist perceptual maelstrom through repetition and flicker.
Language eng
Field of Research 190201 Cinema Studies
190204 Film and Television
Socio Economic Objective 950204 The Media
HERDC Research category J2 Minor original creative works
Copyright notice ©2018, Visions and La Lumiere Collective
Persistent URL http://hdl.handle.net/10536/DRO/DU:30115192

Document type: Conference, Exhibition or Event
Collections: Faculty of Arts and Education
School of Communication and Creative Arts
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Created: Fri, 09 Nov 2018, 04:54:08 EST

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