Stuart Pound (1944, London, UK) started making films as a member of the London Film Maker Co-op. He learnt film making at Nottingham's Trent University, where he currently works as a lecturer. Over the past twenty years he has collaborated with the poet Rosemary Norman on a number of videos.
- Clocktime Trailer (1972) 16mm, color, sound, 6 min.
A moving, stroboscopic film in which several different time streams flicker by in parallel. The 16mm film was partly shot and processed at the London Film-Makers' Co-op, Prince of Wales Crescent in 1972.
A time truncation film trailer for the rather long film called Clocktime. Film made as a totally systematic stream of hitherto unrelated events welded together into a colour interchange frame, ie. image (1), image (2), image (3)… repeat time cycle, 6 frames, 1/4 second, then images move further along their original time base; a very linear film.
- Sleepers (1974) 16mm, color, sound, 18 min.
A succession of images, overlaying, repeating, banging together around the figure of the filmmaker who crosses his work like a conductor over his orchestra. He brillantly conducts a concerto for a pasted life in a divine future!
- Codex (1979) 16mm, color, sound, 60 min.
Divided into two half-hour parts, punctuated by ideograms which give clues about the emerging narrative. Codex opens as a kind of crazed, electric parody of "tourist London", a zany city nightscape full of motion. The basic device is a special reverse printing process that animates every image, the result is both a teasing juxtaposition of 'picture' (the frame) and 'story' (the continuity of the material world, the city), plus a delightful way of raising the ghost of silent cinema; flurried images that somehow 'speak'. Add a love story, a technology / privacy / paranoia theme, and a great musical soundtrack, and you've got a really good piece of avant-garde cinema; rich, agile, and accessible. –Chris Auty, Time Out: London
Screening format: SD (ProRes 422)
Special thanks to Stuart Pound.