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Wednesday, 30 October 2013

Woyzeck // Thursday 31 October, 7.30pm // Canada Water Culture Space // Tickets £12, £10 concs


Chillingly combines hilarity with horror…this production has a dream-like quality, powerfully evoked by immaculately slick, highly imaginative physical theatre’ - The Stage on Metamorphosis

The Canada Water Culture Space is proud to showcase an alternative Halloween event – Woyzeck by Scene Productions. This is a harrowing and psychologically intense adaptation of the renowned unfinished play by Georg Buchner.

Set amidst the backdrop of WW1, Woyzeck is a startling depiction of the lowly soldier plagued by visions of the apocalypse and plunged into homicidal lunacy by the world around him. Presented as a visual jigsaw, exploding from one scene to the next, using intense physicality, a haunting soundtrack and beautiful imagery.

The agonizing effects of war trauma and the utter devastation of the downtrodden man still resonate 200 years after the play was first written. As we approach the centenary of WW1, this production takes the audience into a world that is disturbingly atmospheric, darkly comic and heartbreakingly poignant.

The production is heavily influenced by the styles of Berkoff and Artaud. Scene Productions specialize in theatre which combines expressionism and naturalism. They have received acclaim for their previous works of The Other Side, Vampirates and Metamorphosis.

“Innocence there is a mark on you!”

Follow the event on twitter #woyzeck

Canada Water Culture Space. Canada Water Library, 21 Surrey Quays Road, London SE16 7AR

Tube: Canada Water, Surrey Quays
Train: South Bermondsey
Bus: 1, 47, 188, 199, 225, 381, C10, P12

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Monday, 28 October 2013

Algiers @ DCR // The Haunting // 31.10.13 @ Red Gallery. EC2A = 5 now // 7 at the door

We met @ ICA coffee shop in-between Travis Jeppesen’s The Suiciders reading on Saturday 26 Oct (See post 23 oct 13) = Lee Tesche and Ryan Mahan from the band Algiers (Franklin James Fisher lives in the US) and Anthony Faramelli (lecturer) of DCR.
Punk. Arnaud Deplechin. 80’s-90’s US hip-hop/rap. Massive Attack. Klaus Nomi. Serge Gainsbourg. Spike Lee. Iggy Pop. Yo Soy Cuba. M.I.A. Black Panther. Samora Machel @ Bernard Pivot’s Bouillon de Culture. Steve Buscemi. Living in small towns with restricted access to film or music. Les Inrocks. Gay. Grunge. Brit-Pop and Tony Blair’s conspiracy. My Bloody Valentine. 4AD. Michael Clarke. Jarvis Cocker. Relaxed Muscle. Familly’ alienation in US and France. Youth. Young people today. Becoming older. James Batley. Nippett...

We never met but we were boun(ce)d to meet. Quantum Physics. Ryan and Lee (both North American) say that there is an element of anti-colonial struggle in their band’s name Algiers = a place of freedom – sense of resistance... and it’s their relationship to freedom that influenced the name.

For their latest video, Lee says he sat and watched thousands of hours of images-moving images footage to put the video together. It’s about race because there is a race issue in the United State and both of them wanted to expand the idea of Black identity. Ryan continues in saying that when they listened to Public Enemy or other hip hop acts, it led them to jazz, free jazz, the history of Black culture. It opened their minds about their place as white men within a mixed and repressed culture. The music they listened to might have been somehow commercial and yet very underground. They dug the origins of everything they liked and paid tribute to it. It’s about their joy of discovering!

Both Ryan and Lee talk about the political element in what they do but they also feel that their work can be seen as “you can leave the politic out because they are elements of pushing boundaries” = Klaus Nomi or Serge Gainsbourg were not known for being leftfield propaganda(h)ists but were definitely controversial and provocateurs.
Algiers is also influenced by ambiguity, contrasts and contradictions, difference of experience and acceptance of others’ perspective. But as we go deeper in conversation, they definitely don’t want to give in in processed-music-and-ready-to listen made in a pre-digested cultural vomit environment. Since their teens, they are on a research journey in any kind of art = graphic, street culture, films, music, photography...

DCR’s Anthony Faramelli tells me that 31-10-13 will be a “full sensory experience. Mysterious. Live experience. Dark. Moody. Definitely moody. And fun. The Crows will perform live ahead of their forthcoming album out on Pop Noire label (they are Savages’ little bros). James Batley will show his previously shown in Cannes short film Kneel Through the Dark, in a loop. Brad Feuerhelm-mister analogue photography- will present a photographic flagellation of the macabre and uncanny... Lee Tesche and Andy Becker will tickle your desires through a sound installation. DJs fighting it out for your soul will be AlgiersJen Schande and SALU.

Sunday 27 October, as I was writing this post, Nick Cave came up to my mind “... and the wind did howl and the wind did blow... and the wind did roar and the wind did moan” I had a thought for Nippett and wondered if she was purring quietly in her finger-made castle (Make sure you ask Sir Batley next time you see him... on the 31-10-13!)

Monday 28 October, as I am about to post, I read The Crows might pay a tribute to El Maestro Lou Reed, now resting on the wild side...

Algiers - "A band I've personally fallen in love with." Simon Raymonde (Cocteau Twins, Bella Union) // //

The band – The Crows on same label as Savages = //

The Film – Kneel Through the Dark =
James Batley being interviewed last week =

The Art - Brad Feuerhelm. 2013 // Unholy Passion: Abjection, a discourse for Lesser Heavens =

There is more...

The secret organisation =

The place // date // time // money = Halloween - 31st October 13.  Doors 7pm - 2am
Red Gallery 1-3 Rivington Street, Shoreditch, London, EC2A 3DT =
Cheap early bird tickets £5: or £7 @ the door


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Friday, 25 October 2013

Robin Redbreast. A film by James MacTaggart. Script by John Bowen. BFI DVD release. 28 October 2013.

Courtesy BBC

Robin Redbreast. 
A film by James MacTaggart. 
Script by John Bowen.
 BFI DVD release = 28 October 2013.
Certificate = 12
Runtime: 77 mins
Subtitles: English (optional HOH)

Part of Gothic: The Dark Heart of film, a nationwide celebration of gothic film and television, the BFI will bring the legendary BBC’s folk horror tale Robin Redbreast (1970) to DVD for the first time ever.

Norah Palmer (Anna Cropper), 35, discusses her new life with her two friends in London = a desolate – isolated cottage. Now a single woman after a traumatic break-up, she finds herself... prickly while drinking cognac and smoking a cigarette.
Norah is an emancipated woman in 1970 urban capital and decides to continue her TV script editor job from that cottage, going to London from time to time when she wishes. But can she really decide of everything when secluded in a rural pagan village where practice of Wicca had been going stronger for two decades?

Modern Britain meets a return to past superstitions.

In her jeans and shirt, short hair and smoking, Norah explains to Mrs Vigo, the village “housekeeper” that she does intend to stay in the village. She wonders what that noise is. “Mice, field mice”.
Meanwhile, 50 years old Fisher wonders if he can look around the garden in the hope of finding prehistoric pottery “I have an archaeological interest. I’m a student of that, in my own time”... In the old tongue, lectures Fisher, Flaneathan means the Place Of Birds = the name of the cottage. “you don’t speak the old tongue I don’t suppose” – “If you mean Anglo-Saxon, not since Oxford
While Norah takes a walk in the forest, some screams disrupt the tranquillity of the wood. Rob does Karate in his pants and he happens to be the man who knows how to get rid of vermin... in his sculptural body-empty mind apart from a great knowledge of the Third Reich - “Norah Palmer, you are middle aged, two more hours’ chat about the SS and you’ll be an old woman” says she when she “escapes” from dinner.

Returning to London, Norah tells her friends she feels constantly watched... and is pregnant.

Back to Flaneathan Farm cottage, she reveals to Mrs Vigo that she has a new job and has to live in London. Mrs Vigo quite vehemently says “Easter am in two weeks... Come the winter, the dark days, you go where you will... but now, come Easter... here am your place...
No phone line, a broken car, an unsent letter and a bus that won’t stop. Norah has no choice but stay in the cottage.
What happened last night? I was very frightened” says seven months pregnant Nora on Easter Sunday. “Nothing. Stupid thinking. What good would a woman’s blood be for the land?... women give birth.” answers Mrs Vigo. Easter Sunday, a perfect day to start afresh. Nora asks Fisher “What good would a woman’s blood be for the land?” – “no good at all.. the goddess of fertility....

Each land in each country has its own belief, tradition that can’t go ignored even in its most modern city: to go forward might be to learn to stop at times...
The whole collection is a treasure that unfortunately I am unable to preview due to lack of time, but thanks to BFI Stephen Street for giving the opportunity.

Made during the golden age of British TV chillers, this provocative and disturbing drama was directed by the renowned producer/director James MacTaggart from a script by John Bowen (A Ghost Story for Christmas: The Ice House, Dead of Night: A Woman Sobbing).

The disc features an Interview with John Bowen (2013, 12 min): John Bowen discusses his career and the origins of Robin Redbreast. TRAILER =
Around the Village Green (1937, Evelyn Spice and Marion Grierson, 12 min): short film that offers insight into the changing economic and social history of village life.

Fully illustrated booklet featuring essays and biographies by Vic Pratt, William Fowler, Oliver Wake and Alex Davidson, and full credits.

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Thursday, 24 October 2013





From the creators of the Rooftop Film Club comes a brand new film experience. The mother of all cult films – kicking, screaming and still shock rocking into the 21st Century - 'The Rocky Horror Picture Show' will be appearing on the big screen in the wonderful and unforgettable setting of the world famous Gerry Cottle's Circus Big Top on Clapham Common, London on Saturday 26th October.
We ask you to leave your worries at home, 'give yourself over to absolute pleasure', and join us to sing and dance the night away to this one off 'queening' (sorry we meant screening!) of 'The Rocky Horror Picture Show'.

Fancy dress is not essential but we do wonder how anyone can resist a pair of stockings and high heels for this sexy cult classic!

A screening of the 1975 cult classic in the very unique setting of Britain's Greatest Circus
A new alternative movie experience in the coolest of locations
Big screen, heated big top, licensed bar and the chance to sing and dance along to this cult classic
Tickets: £12.00 available online at
Saturday 26th October 2013
Times: Doors: 7.30pm, Screening: 8.30pm
Nearest Tube/Rail: Clapham South
'The Rocky Horror Picture Show' @ Gerry Cottle's Circus: Clapham Common (Southside), South Circular (A205), SW4 9DE
For tickets and further information please go to:

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Wednesday, 23 October 2013

Travis Jeppesen's new novel, The Suiciders. Launch // Reading = 26 oct 13 @ ICA = 12pm = £5

 published by Semiotext(e)

This is a copy and paste post thanks to Anthony Faramelli (part of the Aleicester Crowley's gang - see below) who “invited” me to Travis reading @ ICA while also meeting with Lee Tesche and Ryan Mahan of Algiers.

Travis Jeppesen. The Suiciders. Semiotext(e)

Anthony Faramelli, an old friend of Travis says “starting @ 12pm on Saturday 26-oct-13 // 8 hours of Travis reading The Suiciders // the space @ ICA is opened up so you can go in and out // the book isn't really linear

In an endurance-based explosion of the typical 'literary reading', Jeppesen will perform the entire text of his new novel The Suiciders in a single marathon reading for the London launch.

In Travis Jeppesen's new novel, a group of friends occupies an indeterminate house in an unidentified American suburb and replays a continuous loop of eternal exile and youth. Permanently in their late teens, the seven young men are fluid and mutable ciphers, although endowed with highly reflexive, and wholly generic, internal lives.

Once you learn how to love, you will also learn how to mutilate it . . . I want to feel so free you can't even imagine . . . Let's get out there and eat some popsicles. There is work to be done”.
Eventually, the group decides to remove themselves from the safe confines of the house and to embark upon a road trip to the end of the world with their companion, the Whore, and their pet parrot, Jesus H. Christ. The Suiciders is their legacy.

Chronicling the last days of a religious cult in rural America, Jeppesen's debut novel Victims was praised by the Village Voice for its ‘artfully fractured vision of memory and escape', and by Punk Planet for its masterful balance of ‘the laconic speech of teenagers with philosophical density'. In The Suiciders, Jeppesen ventures beyond any notion of fixed identity. The result is a dazzling, perversely accurate portrait of American life in the new century, conveyed as a post-punk nouveau roman.

Travis Jeppesen is the author of five books, including Wolf at the Door and Disorientations: Art on the Margins of the “Contemporary”. His play, Daddy, premiered at the HAU Theater in Berlin in 2009. His writing on art and film appears in Artforum, Flash Art, and Art in America, and Whitehouse Magazine of Contemporary Art. He also regularly collaborates with visual artists. He lives in Berlin and London, where he teaches at the Royal College of Art.

Reviews (taken from his publisher Semiotext)
“There is violence and sex and plenty of blood spilled, but rather than totally numb the reader, the dark stuff enervates the brain, agitates and offends the reader, and then placates and pleases with those beautiful, ugly turns of phrase. The Suiciders may destroy everything they touch, but the destruction is creative.”—Molly O'Brien, Bookslut

Endorsements (taken from his publisher Semiotext)
“Travis Jeppesen’s novel of criminal teens hunting their truth through a media wasteland is furiously horny, drunk, stoned, hilarious, querulous, smart. He is a bad American for living abroad, but a great American novelist because of it, and because of his language, which bleeds from the heart. The Suiciders is the best book for a world in which the best readers are prisoners. Its words are violent, its sentences for life.”
—Joshua Cohen, author of Witz and Four New Messages

“Travis Jeppesen is one of the most interesting writers around.”
—Tom McCarthy, author of Remainder and C

More info on The Suiciders @ Semiotext =

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Tuesday, 22 October 2013

French kiss // exkiouz my French // French letter // to French or not too French // French people in London... it’s not an invasion, it’s an infestation! London is the fifth French town. I live there

the Ganges river

Friday 18-oct-13 = email from French Embassy in India “We are very interested in touring your DJ-VJ in five towns in India for 2014. We would like to know if you could lower his cachet @ €700 per date (we obviously pay for flights, hotels and meals)
I thought my Yahoo was getting a bit temperamental and brought back a 2011 email. I read it less than 10 times until I decided my French was still quite good. It was not a 2011 email and forwarded it to Parisian Ninja representative, whose artist name is taken from an Ed Rusha’s painting-meaning-crazy-in-Verlanland.

2009, that artist-businessman wants to tour in Latin America and wonder if I am still there. Euh, non. Just had an accident, relearning to walk, but I can help if you don’t mind touring via the French Embassy // French Institutes-Alliances based there. “I’m dealing with Gilles Peterson in Paris. I get you on the guest list. He plays tomorrow. We can talk there?” – “Am not based in Paris, but I can come next week.

The office is full of young lads, cool guys who say vous to me when I say tu to them... so far, I hadn’t realised I had aged! Or maybe... I am a woman? Eventually, DVJ turns up, we speak, he gives me DVDs of his work to watch and goodbye. First impression = he is a business man. He is very charming. By experience, I don’t trust charming guys and less when the word money serves as a comma in each sentence. But, by experience, I should not have prejudice. Back in the snowy street of the 9th arrondissement, I managed to make a show of myself at peak hours and got almost ran over as my legs are hanging around in the air. Bad omen! BUT, by experience, do not be prejudiced against bad omens = sometimes bad shit happens and it can be good shit... Rama Rama.

In Latin America, I was not an expat’ = I was not paid by a French government or sent by a French organisation. I was a foreigner, having to leave the country every three months for a stamp on my passport. I taught French and English at local rate ($10 dollar an hour) and managed projects such as Bjork, Matthew Barney etc @ $300... per project = 2 to 3 months = lower than the local rate! When it was fiesta time, I drank and smoked spliffs, but didn’t coke. I repeat = I didn’t whiten my nose. Not even once! You do it or you don’t. There is no in-between in Latin America. It’s a political choice (and no one, absolutely no one smuggles cocaine unless under threat!) I came back... poor. Some people get married, have kids and divorce = it’s a fuck up, but an “acceptable” one, others need to breath another atmosphère and fuck up too, which few can understand.

For a businessman, the AV’s work is quite good although no filmmakers have given permission. My motivation takes me to researching all contacts of Cultural Attachés in the world. Because... of course, the world is not big enough, so I searched for these Cultural Attachés in Embassies and Institutes based in Latin America, Asia, Africa, Eastern and Northern Europe. Managed to interest quite a few of them = I wrote PR in three languages to ease the Cultural Attaché’s job and I arranged meetings with the Parisian French Institute and the Foundation of French Alliance. On those meetings, I learnt that he has a female booking agent already in contact with “my” network and that his cachet is not €1500 per date, but €800 per date. I even learnt that he actually toured in West Africa for €500 per date. I write to the Cultural Attachés network, explaining the situation. Despite this, India was highly interested in touring him in five towns for 2011, but it took him two weeks to reply... by then the potential tour had been cancelled. Being paid on a percentage of a cachet... I earned nothing! And my expenses were my expenses.

Having made all those worldwide contacts, I had now to research French artists.
What Time Out (in their September issue) call “These two synth-wielding Frenchmen know how to freak out, with plenty of disco-melting Krautrock...” are actually two talented musicians whose booking agents find normal to put me on a paying guest list in their Parisian’s gig... and refuse to give me their album in order to promote them well. One influential cultural attaché in Latin America felt so insulted by their booking agent that it looks like they might not tour via the Latin American network sometimes soon.
Unfortunately, every single artist or agent I contacted happened to be a friend of that artist-businessman. Paris is a cultural microcosm = most artists-agents rotate around themselves and only bend to kiss their own belly buttons! What they don’t seem to realise is the amount of work it requires for those based in third world countries // the over reduced team // the lack of money to get some good acts going there. These artist-businessman simply behave like spoiled brats asking for extravagant fees, expecting people like me to slave around!

So, on Friday 18 oct 13, I forwarded that email from India after a two years hiatus between DVJ and myself. I just want to believe there must have been a misunderstanding, that we can sort something out, that we have to go beyond...
Sunday 20 oct 13 @ 2.30 am = he actually contacted my network in India in August and sold himself for over €700 per date saying my “job” was insignificant. He didn’t contact an Indian local promoter... he went straight into a door I opened for him! The new Cultural Attachée in India had been given my files and emails and she contacted me by mistake. He’s going to pocket money €3500 out of an opportunity I created. Behind that “peace and love” macho who tatooes his FB’s wall of “let’s fight against the system” hides a “business is business” misogynist, opportunist and narcissique faux-hippie-pinkfloyd-esque! I wonder how many other countries’ Cultural Attachés he has contacted on my “behalf”!

But then again, in Paris, women decide who fly or not and they can see from my last email, the rip-off doesn’t come from me... + now, he will have to pay in Poundland, not in Euros...

Thursday, 17 October 2013

Like Someone In Love. Abbas Kiarostami. New Wave DVD release = 18 October

Courtesy of New Wave Films

Like Someone In Love. Abbas Kiarostami. France/Japan 2012/ 109 mins / Japanese with English subtitles. DVD extra = 45 minutes.

We should start every film with an openly pornographic scene and say: ’There, look at this scene, satisfy yourself, take pleasure from it, because there won’t be any of that in the film you are about to see” = Jean-Luc Godard

From the opening “aquarium” scene to The End scene, Abbas Kiarostami’s Like Someone in Love (see post on 20 June-film general release on 21st June) dissects doubts, misunderstanding.
Like Someone in Love is Kiarostami’s second film shot in exile: Japan. Why Japan? Is Kiarostami asked in the DVD’s extra. Sushi.

Kiarostami’s stories have no hierarchy and their structures are simple and instructive. Like Someone in Love was “made” 15 years before the shooting. He didn’t shoot the film at the time for the wrong reasons, but with his own maturity in age, the Iranian director feels he understands how to portray the 80 year old character Takashi who hires the services of Akiko, a student and an escort.

Kiarostami depicts in his film aspects of human nature that we are made of. According to an anthropological study, whether we live in an active urban space or a small community in a forest, human beings have same reactions towards love, jealousy etc... Then, it’s more a matter of hiding those emotions or “exhibiting” them // refusing to be in denial.
Abbas Kiarostami admits his film is autobiographical and cites XIV century Persian poet HafezI am what I show people”. To expose yourself is the best therapy considers Abbas.
In Jamie Catto-Duncan Bridgeman’s One Giant Leap, their “masks” section refers to who we choose to be in a crowd with guest speakers like Ram Dass, Dennis Hopper, Dr Rewati Sakalkar etc... Music scored by Linton Kwesi Johnson – “there will be time to put on a face to meet the faces that you meet”- TS Eliot.
To further his concept of being who one is, the director talks about using two digital cameras (as a continuation of 35mm) only as it gives the freedom to actors to forget about it as it rolls continuously without wasting films = so when Akiko yawns in the car, she really yawns unaware that the scene will be part of the film.

Amongst the many insightful subjects Kiarostami talks about in the DVD extra, he pays a great tribute to the art director = his poetry, his details of his work that are mostly unseen in the film but present in the extra. He talks about his creative force, his selflessness and his authenticity that make one reflects about the question of art = even if the viewer does not see the Kierkegaard handwriting translation and the books, the art director wanted them to be there as it adds an authentic element.

If Like Someone in Love is about being true to oneself and about art, Kiarostami says “I always try to create the conditions for misunderstanding... because it’s part of our everyday reality”...

E =

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Wednesday, 16 October 2013

BFI. The Epic of the Everest // Extreme Summits and Kendal Mountain Festival Weekend = 18 Oct – 24 Nov

The Epic of the Everest
Courtesy of BFI

BFI. The Epic of the Everest // Extreme Summits and Kendal Mountain Festival Weekend = 18 Oct – 24 Nov

THE EPIC OF EVEREST. Directed by Captain John Noel. UK 1924, 85 mins, Cert U. Featuring a new score by Simon Fisher Turner.
Opening date: 18 October 2013 at the Curzon Mayfair, IFC Dublin & selected cinemas nationwide.
A BFI release = The BFI’s new restoration will be released to coincide with its world premiere Archive Gala screening at the 57th BFI London Film Festival. Its release coincides with the 60th anniversary of the final conquest of Everest in 1953 by Edmund Hillary and Tenzing Norgay.

Stars are bigger when you climb up the Himalaya” = so says a friend of mine who has been climbing the mountain once a year for 20 years, discovering new spots each time his guide allows him to see.

The journey to climb the Mount Everest was prepared from 1921 to 1924. Captain John Noel captured the images which have been restored by the BFI and soundtracked by Simon Fisher Turner. The climbers were Mallory and Irvine. When Noel returned to UK, the film became a success and toured UK and US before being unseen and forgotten...

The Epic of the Everest starts with the arrival of 500 “staff”; technicians, climbers, carriers, donkeys and yaks in a village. A semi-anthropologic Tibetan life is explained methodically on women jewels, coiffes and traditional clothes. A reminiscence of Flaherty’s Nanook of the North (1922).

Before setting off for the journey, we learn that the lamas don’t see the success of the expedition as Chomolunga (Mother of the World) doesn’t approve of it.

Heavy equipment and a caravan of men and animals roam across snow, passages like a procession march through the mountain, camping at night in brutal harsh conditions.
Mallory and Irvine will carry on the journey with a few men and attempt to reach the summit while the camera could no longer be carried. A telescopic lens had been made purposely and this is from that lens that we will follow the journey.

Mallory and Irvine were last seen 800 ft away from the summit but the debates goes on as whether they were going down or climbing up.
Mallory’s body was found in 1999.
More info on film and music score = The restoration by the BFI National Archive – undertaken in collaboration with Sandra Noel, the director’s daughter – has transformed the quality of the surviving elements of the film and reintroduced the original coloured tints and tones. Revealed by the restoration, few images in cinema are as epic – or moving – as the final shots of a blood red sunset over the Himalayas.
Captain Noel was a heroic, pioneering explorer who had reconnoitred the mountain in disguise while on leave from his Indian regiment, as early as 1913. In 1919, in the course of a paper to the Royal Geographical Society, Noel made the first public suggestion that Mount Everest should be climbed, a challenge taken up in 1920 when members of the Royal Geographical Society and the Alpine Club of Great Britain formed the Mount Everest Committee.
The film will have a newly commissioned score composed, orchestrated and conducted by Simon Fisher Turner (The Great White Silence) which features a haunting combination of electronic music, found sounds, western and Nepalese instruments and vocals.
The restoration is supported by The Eric Anker-Petersen Charity.

Extreme Summits = Beginning in late October and running until the end of November, BFI Southbank will mark the 60th anniversary of the first ascent of Everest with Extreme Summits. This season of films will celebrate the heroic endeavours of mountaineers, from Everest to K2 and Kangchenjunga  to Mount Kamet.
BFI Southbank will also host some of the best films from the Kendal Mountain Festival with a special weekend of events (Fri 22 Nov – Sun 24 Nov). This film festival will bring the best of adventure, discovery and mountain film to BFI Southbank.

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Friday, 11 October 2013

Whirlygig Cinema’s Making Tracks // Short films with live soundtracks // 11 October @ Rich Mix, E1

Image credit: Grace Coombes (

I was invited to the preview of (RIP) Patrice Chéreau’s Intimacy @ the French Institute in 2001 or 2002. I asked him why he didn’t use any Marianne Faithfull songs since she performed in the film?  Chéreau replied that dealing with record labels for music right clearance is at times a nightmare...

Whirlygig Cinema is hosting Making Tracks, an event that combines short films by emerging filmmakers with live music from The Cabinet of Living Cinema.
The project has provided a platform for new film talent since December 2010, with over one hundred short films being re-scored to date. The scores are heard for the first time on the night by participating filmmakers, creating an exciting and involving atmosphere, and audiences are given a chance to see cutting-edge film in a unique context.

Katie Steed of Whirlygig Cinema said, “A re-occurring problem for new filmmakers is rights clearance of their film’s soundtrack before screening it in public. Making Tracks allows them to bypass this issue and show work publicly for the first time. They also receive a copyright-free recording of the new soundtrack.”
Philip Ilson, Director of London Short Film Festival, comments, “Making Tracks is one of London’s most original and groundbreaking short film nights, as they bring together a love of short film and a strong musical element, as the excellent Cabinet of Living Cinema house-band re-interpret the films on show with new musical scores.

The programme will include a selection of animations, short dramas, music videos and experimental films. There will also be a post-show Q&A with filmmakers and musicians.

Film programme:
The New and the Other / dir. Joseph Caruana / 2011 / 4 mins / animation
I Want To Be Happy Cha Cha Cha / dir. Jonathan Schey / 2013 / 14 mins / drama
Master of Bingo / dir. Joon Goh / 2013 / 3 mins / music video
Things Change / dir. Jo Peel / 2012 / 3 mins / animation
The Butterfly / dir. David Baksh / 2012 / 4 mins / experimental
Glade / dir. Matt Mead / 2012 / 2 mins / experimental
Twitcher / dir. Jane Gull / 2013 / 10 mins / drama
CTRL / dir. Amy Coop / 2012 / 3 mins / drama
Marionette / dir. Frayah Humphries & Thomas Tanner / 4 mins / animation
Valtari / dir. Rebecca Culverhouse / 2012 / 8 mins / drama

Whirlygig Cinema, run by arts graduate Katie Steed, is an initiative that promotes emerging film talent through fun and informative short film events, with a special emphasis on the audience experience.
The Cabinet of Living Cinema ( is a meeting of artists dedicated to creating “living cinema” experiences through live performance. They have performed previously at Bournemouth Arts Festival, V&A, Old Vic Tunnels and the British Library.

This will take place at Rich Mix in Shoreditch, East London at 7:30pm on Friday 11th October.
Tickets are £8 in advance or £10 on the door. Book online at  
Rich Mix Bar, 35-47 Bethnal Green Road, London, E1 6LA

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