publications

 

 

 

 

 

 

Wayward 31 - Therese Desqueyroux / Popcorn Casts

Thérèse Desqueyroux directed by Georges Franju released 1962, duration 109 minutes
With a display of new works by Mark Aerial Waller from the series Popcorn Casts

Saturday 22nd June
Doors 9pm, screening 9.30pm

Piper Keys
Unit 2a, 10 Greatorex Street
London
E1 5NF

http://www.piperkeys.com

Therese Desqueyroux poster Wayward Canon

Therese Desqueyroux (1962) Georges Franju
As a study in menace and penance, Thérèse Desqueyroux is one of the most successful fusions of cinema and literature ever. Arguably Georges Franju’s most perfect film, it attracted an audience of 1.3 million and won Emmanuelle Riva the Volpi cup (for Best Actress) at the Venice film festival.

Therese Desqueyroux Franju 1962 Wayward Canon

Georges Franju's cinema sits uncomfortably between Surrealism and the French New Wave. His profound and subtle understanding of surrealist critique slides into a belief system in his work, where the film becomes anima, imbued with its own autonomous life, stuck forever shuttling between times. Here in Therese Desqueyroux the 1962 french countryside is so deeply mired in conservatism that it looks like a 1927 period film. But this is not a costume drama, it is a contemporary film about a Madame Bovary who strikes back, a mistress of her own experience.

Therese Desqueyroux by Georges Franju 1962

"Every shot bears the stamp of a virtuosity that has long dispensed with rhetoric…The apparent freedom of two girls in white cycling through fields is belied by immobile details marking out the space around them; a stone house catches the sun…the silhouetted serrations of agricultural machinery…the countryside is a menacing chaos." Raymond Durgnat, Franju, Studio Vista.

 

 

Wayward 1.28 - DENNIS HOPPER

Whats this all about ?

Dennis Hopper - do you want to remember him?

 

Sunday 10th JULY 2011, 3pm to the end

7 Ravenscroft Street, London E2 7SH

Or is it Dennis Cooper/Henry Cooper/Dennis Potter/Edward Hopper?

If you really don't care, but really do care, come to No 7 – DIAL A RIDE for Sunday 10th July

When we cook on the barbecue and drink to his death,

Its a day of Dennis Hopper.

We have OUT OF THE BLUE 5-7pm
Then COLORS 7:30-10:30
And THE LAST MOVIE 11.00- 1:00

The question is why should we bother?

Could it be that he won Hollywood, then gave this away to his sense of freedom?
Could it be that he died during the edit of 'The Last Movie' and lived again to win at Venice?
What about James Dean, did Hopper live on to finnish off the job?

I think there's a lot to be done for him, this remarkable agent, who walked as a Ghost Rider against the motorway traffic, stark naked with a stone in one hand, the other palm outstretched, and lived.

Check him out on the interweb,

Then come at 3pm to take part in the eulogy

You will never be the same again.

 

Wayward Canon Dead of Night Boundary Theory

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Wayward 2.27

Dead of Night / Boundary Theory

Wednesday 16th March, 6:30pm

HOLLYWOOD Cinema,
Anglia Square
Norwich

tickets : £4

Walter Craig, an architect, is summoned down to a country house by a prospective client whom he does not know. On arrival he experiences strongly the feeling that he has been to the place before...

What is the relation betweek yoga, boundary theory and the film Dead of Night?

Bounday theory is a tool to study situations. It can be understood in terms of 3 dimensional topology. For instance, if there is a kingdom with a wall around it, and that ruler decides to conquer more land, to expand the realm, they must build a bigger wall, using more bricks to surround the place. Let's say they continue to seek more and more land, increasing its size and the size of the wall all the time, until at some point they have half the planet, with a wall extending all the way round the world.

If from this point the realm continues to grow, the wall must become physically smaller, as the territory expands into the opposite hemisphere from its origin, so bricks must be discarded, as we are dealing with a 3-dimensionsional situation.

So the idea is that at the point of the equator, there is a 'flipped boundary where a value contradicts itself;the territory is increasing, but the number of bricks are decreasing.

This idea can be brought into a psychological narrative. In the case of Dead of Night, The protagonist Walter Craig wakes from a nightmare, only to find that his nightmare is becoming real, just as he had dreamed it. OR the protagonist Walter Craig, is experiencing a recurrent nightmare, from which he cannot escape, so all he sees is a figment of his imagination. These two ways of interpreting the movie demand completely seperate annalylis of the situation: 1, Craig is a psychic with foreknowledge of his future, so he actually is loosing his mind, becoming murderer as the story develops. 2, He is in a frightening dream where he thinks he is loosing his mind, but it is only a dream after all and he should awake and relax sometime soon.

The event commences with a video projection of a yoga fitness video, all in the audience are encourages to participate in the synchronised movements and relax into the mesmeric yoga soundtrack. Next the movie Dead of Night is shown. The portmanteau structure contains several stories all using the concept of the flipped boundary, crossing over into latent horror.

Finally my video The Cassiopeia Plan is projected. The narrative is a pastiche of Dead of Night and the earlier yoga video in one continuous thread. Recursive shifts back in visual memory to the horror movie are accompanied by the physical memory of 'I have done that' when seeing the yoga and hearing the yoga master's commands for the second time. A boundary has been crossed for the audience, shocked into feeling themselves included on screen.

'Hey isn't that you on the screen, Isn't that you on the screen, shucks thats not me!' Sleezy Films, Mark Almond.

 

The portmanteau film Dead of Night (1945) is a co-direction between Alberto Cavalcanti, Charles Crichton, Basil Dearden & Robert Hamer. The overarching narrative of a recurring dream provides a circular structure for a series of tales, where one form of consciousness slips into another, where horror lies within our own slippages of sanity. The film's structure curiously follows a logical/empirical philosophy where 'p' and 'not p' are able to occur simultaneously in the grey zones between. The film sits comfortably within its own contradictory state.