Saturday, June 22, 2019

Screening at Edinburgh International Film Festival

My short documentary One, Yellow, You Will Marry A Handsome Fellow will screen at Edinburgh International Film Festival at 3 p.m. on Friday, June 28th. It is part of the program Time Passes Me.

The Edinburgh International Film Festival is the world's longest continually-running film festival.

The film features Katrine Haagh Thuesen, Lucas Ray, Tomas Sheridan, Mango Sheridan, and Jennifer Williams.

Monday, May 20, 2019

Screening at REEL Crafted Film Festival

My short documentary Natalie J. Wood: Ceramicist will screen at the REEL Crafted Film Festival on Friday, May 24 in Vancouver, Canada
From popular trends to the weird and conceptual. From culturally significant to “just for the hell of it” – this lively group of international short films featuring craft from around the world will not only educate as to the how and why these artists create, but also inspire us to look abroad to discover the limitlessness of the human imagination. 
The screening will be held at: Emily Carr University of Art & Design – Reliance Theatre 520 East 1st Avenue, Vancouver, BC, Canada.

Monday, April 01, 2019

Monday, January 14, 2019

Screening at Papaya Rocks Film Festival

My 60-second film Trifle will screen at the Papaya Rocks Film Festival in London on Thursday, the 28th of February, 2019 at the independent, family-owned Genesis Cinema in Whitechapel. This will be the film's world premiere.

A trifle is a matter of trivial importance, or a small quantity of anything. The film is a 60-second documentary about adjusting to tiny cultural differences.

Friday, December 14, 2018

Published in Frames Cinema Journal

The new issue of Frames Cinema Journal -- "Making Meaning of the Visual: Space and Identity" -- has just been published. I have a paper in it. It's titled: Popeye Doyle in the Rearview Mirror: Has the POV Shot Lost its Human Identity? You can read it for free.

It's about editing techniques for "cueing" POV shots, and our experience of identification with a character if these cues work. The paper starts with the famous chase scene in The French Connection, looks a little into the convoluted theory behind "identification," and then considers how the use of stabilized cameras and "documentary-style" camera work changed the use of cued POV shots.

So go and read the article.