Projects matching: Stuart Pound

Synopsis

Scenes appropriated from Antonioni’s famous film L’Avventura are centred on Monica Vitti as the central subject. The constant alternating positive and negative image appears to vary with the percussive sound of Gamelan music.

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Action sequences taken from three cinema films are turned into a semi-abstract experience in which the world is literally turned on its side. Material was taken from DVD’s purchased recently from charity shops in London, a further example of appropriating dominant cinema as a canvas for video art.

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Grandmother is a Crab borrows from an earlier digital video, made fifteen years ago, that itself used footage captured from a travel advertisement on television. Black and white, and mirror effects, take the image out of time, giving it both vividness and distance. The music is played in reverse. And the voice-over and under-titles are a poem that re-enters the magic world of a child on a beach.

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A poem about software and other neologisms. The letters of each word appear in a randomised sequence on screen.

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16mm black & white film frames from the distant past fondly remembered and seen through a microscope connected to the computer.

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The mysterious love poem by Wilhelm Müller from Schubert's 'Winterreise' provides the audio amplitude samples used to draw the waveform. Awarded Best Experimental Film Prize at 2010 Ismailia International Documentary & Short Film Festival in Egypt.

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A homage to Lewis Caroll and Alice Liddell, where the words of the final paragraph of 'Alice's Adventures in Wonderland' are re-arranged into a poem, using each word once, unless it appears more than once in the original. The title simple simple simple is the words left over.

Synopsis

Most of the source footage for “Camouflage with White Shirt” is selected from “Man with a Mission”, a TV documentary about Tony Blair. For the first six minutes, image and sound are cut and alternated to create a flicker effect with a rhythmic soundtrack, only snatches of it intelligible. The second part offsets Blair inspecting troops against Hugh Grant making his famous speech from “Love Actually”. In the third part, Peter Mandelson’s voice is heard praising Blair, against a shot of a wall in Berlin with an anti US/UK slogan painted on it in English.

Synopsis

Sequences of frames, sampled from a Big Brother broadcast on Channel 4 television, are repeated three times each in rhythmic succession. Nothing is slowed down or speeded up, but movement becomes unreal and fractured, parts of spoken words tumble out into a new stream of image and sound, and 'reality television' begins to look like Pop Art.

Synopsis

Tehran Trace takes the same motion path slowly and silently across four still photographs; the foyer of the Hotel Laleh, the Mirror Hall of the Golestan Palace, a stone arch towards the north of the city, and a bazaar with a view of mountains. Each 'trace' begins close up, curves away from its opening subject and ends with the original image fully framed.

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In the aftermath of a decision impossible to reverse, political debate is submerged in an ambient world of photoshoot, marimba and birdsong.

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The poem Kissing in hats is a villanelle, a verse form where the regular repetition of two key lines gives added urgency to what is being said. The effect is intensified here by double tracking of the speaker's voice, as a moving path scans a drawing of World War Two lovers kissing in hats before the men must board their train. This is a new version with the text of the poem on screen.