Arthur (1938-) and Corinne Cantrill (1928-) started their extraordinary filmmaking careers in 1960, and remain two of the most significant and productive figures in the history of experimental cinema. Their work is an intimate, highly formal, and breathtakingly cinematic exploration of the Australian landscape, their immediate domestic and working environments, the material qualities of the [...]
Arthur and Corinne Cantrill Dossier
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This essay originally appeared on the website of the Australian Centre for the Moving Image, and was written to accompany the retrospective “Grain Of The Voice: 50 Years Of Sound and Image” which I curated. Looking back at the vast body of work produced by Arthur and Corinne Cantrill over the past 50 years, the [...]
Artists, experimental filmmakers, poets and their associates have a covert history of exploration beyond the standard arrangement of audience, beam and screen. In expanded cinema, as the late Paul Arthur noted, the commitment “is to an ethos of spontaneity” that contradicts not just the classical cinema’s normal exhibition mode, but also critically “ruptures the privatized [...]
This article was first published in Cinema Papers no. 102, December 1994, pp. 10-11. It is reproduced here with the kind permission of the author. Waterfall (Arthur and Corinne Cantrill, 1984) is a true film-maudit: an Australian film in an art form dominated by “entertainment” films from America or “serious” works from Europe; a short [...]
This article was first published in the groundbreaking Don’t Shoot Darling! Women’s Independent Filmmaking in Australia (Greenhouse Publications, Richmond, 1987, pp. 334-42). It is reproduced here with the kind permission of the writer and that book’s co-editors: Annette Blonski, Barbara Creed and Freda Freiberg. all photographs testify to time’s relentless melt.(1) The Snake slid away [...]
The trouble with archives is their lack of completeness. The mal d’archive, the archive fever that troubled Freud as explicated by Derrida (1), is in part the anxiety of the imperative of completeness, the need to find the complete set, the original copy. But then once you’ve got that, where do you go? My personal [...]
