Cirrus@Austlit

'The following interview with Marie Craven originated from an online interview after a film class viewing of a program of her films as we moved out of Covid. The Zoom transcriptions of that event were trawled and expanded upon by myself and Marie into a more succinct mapping of a journey through her creative work. What motivated me has been her processes of re-invention through the different cycles of media she has been enmeshed in and the creative communities she so productively engaged in, all shifts that reflect changes in the media landscape. Craven has re-invented herself into the present through these media shifts over the last 40 years through Super-8, 16mm, 35mm, music and the digital web.'  (Introduction)

'In 2022 the National Film and Sound Archive acquired the hand-made filmmaking material Paul Winkler constructed to make his innovative films from the the 1960’s to the present. Winkler is packing up his practice bags. His successful graphic cinema originated on his 1959 arrival in Australia. A basic 8mm film documenting his journey from Germany to Australia by motorbike was an early foray into cinema. Winkler later participated in Sydney’s Yellow House Art events with Albie Thoms and David Perry. The minimalist 16mm work Brickwall (1975), rendering the act of bricklaying, is considered a classic Australian experimental film.' (Introduction)           

'Saidin Salkic is a Bosnian-Australian filmmaker whose recent prolific output includes Waiting for Sevdah (2017, 40 mins), Silence’s Crescendo (2018, 41 mins), The Shocking (2019, 27 mins) and The Human (2020, 48 mins). This discussion focuses on Silence’s Crescendo, a relentless and minimalist experimental horror chant, and links it to related national and international experimentation, trauma and surveillance capitalism.' (Introduction)