Introduction: The Analogues of Peter Strickland Alexandra Heller-Nicholas and John Edmond July 2019 The Analogues of Peter Strickland One way of thinking about Peter Strickland’s works is as baubles of obsession. They are little spheres of influence, spheres of logic that marry fecun...
Antiworld, Imminence and the Pastoral in Katalin Varga Henri de Corinth July 2019 The Analogues of Peter Strickland While the films of Peter Strickland are celebrated for their emulation of midcentury genre cinema, much of their structure – being their oscillation b...
Chickens Come Home to Roost: Hallucinations of a Hobbyist in Peter Strickland’s Berberian Sound Studio David Toop July 2019 The Analogues of Peter Strickland Like the hole at the centre of a tape spool, Gilderoy occupies the absent fulcrum of an auditory mystery, a mystery made more mysterious by its transp...
The Butterfly Affect: Haptic Vision in Peter Strickland’s The Duke of Burgundy Drew Daniel July 2019 The Analogues of Peter Strickland One handy way to think about Peter Strickland’s cinematic work is through its pronounced, indeed insistent historical referentiality to the cinema of ...
Fashioning Film’s Fabric: Wearing the Materiality of Peter Strickland’s In Fabric David Evan Richard July 2019 The Analogues of Peter Strickland Making sense of Peter Strickland’s lushly realised In Fabric (2018) is a peculiarly challenging task, one that not necessarily uses the brain, but rat...
Tangled Worlds – The Natural and Fantastic in Peter Strickland’s Katalin Varga and Berberian Sound Studio Alison Taylor July 2019 The Analogues of Peter Strickland "But round the castle there began to grow a hedge of thorns, which every year became higher, and at last grew close up round the castle and all over i...
The “Faraway Forest” in Peter Strickland’s Katalin Varga, The Duke of Burgundy, and The Cobbler’s Lot Samm Deighan July 2019 The Analogues of Peter Strickland Throughout folklore, the forest is a place beyond social convention, of lawlessness and disorientation. It is home to brigands and monsters, and yet a...
Gender Divide in Diptych: Peter Strickland’s Berberian Sound Studio and The Duke of Burgundy Anton Bitel July 2019 The Analogues of Peter Strickland The Berberian Sound Studio – a labyrinthine post-production complex in 1970s Italy to which all the events of Berberian Sound Studio are restricted – ...
It’s a Cobbler’s Lot: Peter Strickland’s Penchant for Synaesthetic, Švankmajerian Surrealism and Fetishism Cerise Howard July 2019 The Analogues of Peter Strickland "One sensation of mind, one fabric in recollection of touch." - Saleswoman Miss Luckmoore (Fatma Mohamed), waxing typically gnomic, in In Fabric (Pet...
Hard Line Listening: Sound and Audition Within the Films of Peter Strickland Lawrence English July 2019 The Analogues of Peter Strickland The cinema screen, by its very construction, is a treacherous environment for sound. It is a plain, a horizon locked by hard borders, historically tet...
Worldly Decoupage: Peter Strickland, Collage and Design Julian House July 2019 The Analogues of Peter Strickland Design work is about worlds. When I do an LP campaign for a band, I see it as creating a world for the artist, for that particular album. This world a...
Interview: The Work of Peter Strickland John Edmond July 2019 The Analogues of Peter Strickland This wide-ranging conversation with Peter Strickland is centred around work, as theme of his films, and his theory and practice of it as filmmaker. Th...
