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Nicky Hamlyn is one of the UK’s key artist filmmakers of the past 30 years, working in 16mm film and video, he has produced a large body of both single screen work and installations in both media. His current practice has two distinct concerns, based on the medium he is using. In much of the film work he has been concerned with developing structures that are derived as closely as possible from the form of the subject matter. In recent years the subjects have been predominantly architectural, but also topographical. He often works frame by frame, in the manner of an animator, and this approach acknowledges the importance of the individual frame as a building block for bigger structures. The aim in establishing a reciprocal relationship between the film frame, the framing edges and the subject’s formal properties, is to eliminate subjective decisions about framing and allow given parameters to have a determining effect. Much of the video work, by contrast, explores the spontaneous interactions between complex events, such as the swirling movements of layers of net curtain, and the video technology used to record process the data it receives. This DVD makes available for the first time his major film and video works from the past 38 years and is accompanied by new essays by Simon Payne and Federico Windhausen.

‘Hamlyn’s films offer a delicately observed but rigorous encounter between objects and their depiction, whose motifs embrace spaces (windows, rooms, landscapes, gardens) that parallel the camera frame in both senses -ie screen shape and single frame exposures’. A.L. Rees, A History of Experimental Film and Video

Contents
:
Silver Street (1974-5, 4 minutes, 16mm, colour, sound)
That Has Been (1984, 38 minutes, 16mm, colour/b&w, sound)
Minutiae (1990, 1 minute, 16mm, colour, silent)
Telly (1995, 5 minutes, video, colour, silent)
White Light (1996, 22 minutes, 16mm, colour, silent)
Four Toronto Films (2007, 16 minutes, 16mm, colour/b&w, silent)
Quartet (2007, 8 minutes, 16mm, colour, silent)
Tobacco Shed (2010, 10 minutes, 16mm, colour, sound)
Lux et Umbra (1999, 2 minutes, 16mm, b&w, silent)
Transits of Venus (2005/2012, 5 minutes, 16mm, colour/b&w, silent)
Zöetrope (2008, 3 minutes, video, colour, silent)
Autogrill Verghereto (2008, 3 minutes, video, colour, silent)

DVD Source: Lux, region 0, DVD9
DVD Format: PAL
DVD Audio: English DD 2.0
Program: Unknown
Menus: Untouched
Video: Untouched
Audio: Untouched
DVD extras: Untouched

https://nitro.download/view/01ACDFBE6378637/Nicky_Hamlyn_Selected_Works.part1.rar
https://nitro.download/view/329E8C2E16189E8/Nicky_Hamlyn_Selected_Works.part2.rar
https://nitro.download/view/5BF95C2EC54E283/Nicky_Hamlyn_Selected_Works.part3.rar
https://nitro.download/view/7D367044C2378E2/Nicky_Hamlyn_Selected_Works.part4.rar
https://nitro.download/view/A743112F3097BA8/Nicky_Hamlyn_Selected_Works.part5.rar
https://nitro.download/view/BFDE0FBD835C941/Nicky_Hamlyn_Selected_Works.part6.rar

Language(s):English
Subtitles:None

The post Nicky Hamlyn – Nicky Hamlyn- Selected Works (1974-2012) first appeared on Cinema of the World.

Details, fragments, transformations and shadows of a confined space: the toilets of the London Filmmakers’ Co-op in Gloucester Avenue, Primrose Hill, London. This film is neither abstract, nor firmly resolved in terms of what is depicted. Saturated colors and snatches of images are punctuated by darkness, whilst silence is punctuated by mysterious sounds, which are confined to moments when the image is extremely low key. The haunting use of sound and silence and the enigmatic juxtapositions and fragmentation contribute to the film’s overall abstract quality.

Misrecognitions and simulacra. An anti-montage film: a series of discrete shots that nevertheless gel at one or two points to produce simple meanings. Hovering on the line between abstraction and representation, the film hopes to problematize them both. According to Peter Gidal, “the abstract quality (never total, for the objects are always recognizable as objects) helps Hamlyn to negotiate sexual imagery as it occurs in the film by rendering those images relatively abstract and on a par with other objects depicted. The effect is to drain the image [of the naked body] of its conventional sexual meanings and associations (with pornography, for instance) and instead neutralize it almost.”

Founded in 1966, the London Film-Makers’ Co-operative started life at Better Books, a counter-culture bookshop on Charing Cross Road, where a group led by poet Bob Cobbing and filmmakers Stephen Dwoskin and Jeff Keen met to screen films. Initially inspired by the activities of the New American Cinema Group in New York, the London Co-op grew into a pioneering organisation that incorporated a film workshop, cinema space and distribution office. During its four-decade history, the Co-op played a crucial role in establishing film as an art form in the UK and participated in a vibrant international film scene. This BFI Player collection brings together new scans of films distributed by and/or produced at the London Co-op.

https://nitro.download/view/CCE0574BECBBFFF/Nicky.Hamlyn.-.Collected.HD.Works.1979-1980.720p.BFI.WEB-DL.AAC2.0.H.264-Cinefeel.rar

Language(s):None
Subtitles:None

The post Nicky Hamlyn – Not to See Again / Guesswork (1979-1980) first appeared on Cinema of the World.