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• W2248014725 abstract "Abstracts for Dirk de Bruyn Panel This panel responds to the work of experimental filmmaker Dirk De Bruyn who has been creating film works for over 35 years; mostly in the hand-made, 'direct animation' mode. He also performs live with multiple projections of his films in a highly embodied mode of expanded cinema performance. His work is renowned for its intricate, suggestive layering of sound and image, and use of sumptuous, blooming fields of colour, and speaks to several of the conference themes in its consistent engagement with memory, affect and expanded cinema. http://otherfilm.org/dirk-de-bruyn/ http://www.innersense.com.au/mif/debruyn.html Spatial Hauntology in Dirk de Bruyn¹s Conversations with my Mother Derrida’s neologism, hauntology, unsettles any simple formulation of Being as presence. For Derrida, ontology, or what is, always has a spectral dimension that disturbs absolute distinctions between past, present and future. This philosophical perturbation finds its most apt formulation in the figure of the ghost. Dirk de Bruyn's documentary film, Conversations with my Mother (1990) is a ghost story in this Derridean sense. The film stages a trans-generational dialogue between de Bruyn and his mother, which interrogates the relations between the living and the dead with specific reference to de Bruyn¹s father, a literal absence that nevertheless dominates the work. The filmmaker revisits various familial dwellings with his mother, engaging her in sometimes truculent conversations about a variety of topics: the trauma of migration (from Holland to Australia), the alienation that comes from having to learn a new language and customs, domestic violence and mental illness (de Bruyn's father suffered from mental illness, which had tragic repercussions for the family). Both the filmmaker and his mother approach these topics with candor and raw honesty. This paper argues that the film exemplifies what I call ‘spatial Hauntology’ a cinematic practice that uses personally significant locations as the mise-en-scene for disquieting Ospectral¹ encounters that transgress the boundaries of language and memory. Put differently, de Bruyn¹s film summons the figure of his deceased father to mediate between rival epistemological and ethical claims about past events. By revisiting the scenes of past traumas, de Bruyn and his mother are forced to reconsider established verities about the nature of their relationship, as the spectator is made witness to the spectres that inhabit the protagonists¹ past, present and future. Glenn D’Cruz, Deakin University, Australia. Glenn D’Cruz teaches drama and cultural studies at Deakin University. He is the author of Midnight’s Orphans: Anglo-Indians in Post/Colonial Literature (Peter Lang 2006) and editor of Class Act: Melbourne Workers Theatre 1987-2007 (Vulgar Press, 2007). Performing Erasure This presentation examines my abstract films from my ongoing 16mm and digital experimental film practice, e.g.: 223(1985, 6 mins), Migraine Particles (1984, 12 mins) , Understanding Science (1992, 18 mins), Rote Movie (1994, 12 mins), Trauma Dream (2002, 7 mins) and Analog Stress (2004, 12 mins) as expressing a process of erasure, a method employed to construct a gutted and marooned identity.  It rereads the essentialism of Modernism as laying bare the mechanics of erasure and denial and Peter Gidal’s anti-illusionist ‘Materialist Film’ as a practice outlining the structure of trauma, and the nature of traumatic memory, described as dissociative in Pierre Janet's early work. I understand my practice as a response to trauma, dislocation and resettlement expressible in the emptied and gutted voice of the New Australian, a 50s term for the assimilated migrant of which the Dutch were considered exemplar performers, good white New Australians, who neatly left their Dutch identity at the door, but who never-the-less witnessed the ambiguities of the ideologies they implicitly embraced. The term ‘New Australian’ is an ‘official’ 1950’s identity which asks you to forget your past for a problematic, undefined Oother¹ that is set apart from ‘Australian’. Dirk de Bruyn, Deakin University, Australia. Dr. Dirk de Bruyn teaches Animation and Digital Culture at Deakin University. He has a 40-year history of experimental film practice. More recently he has staged his multimedia performances internationally in London and Brighton UK, Utrecht, The Hague and Rotterdam Netherlands, Wellington, NZ. Tokyo and Shanghai. Empirics of Artaudian Cruelty: Dirk de Bruyn's Experiments Experiments is a multi-screen, expanded cinema work which combines film projection with live gestural and vocal performance by the artist. Not quite cinema nor theatre, never the same in any of its presentations, and situated elusively in the past-worlds of performance and trauma, de Bruyn's Experiments poses significant difficulties for interpretation, except perhaps through the aesthetics of Artaud's 'theatre of cruelty', themselves originally proposed to fall somewhere between thought and action. In Artaud's conception, though evocative of physical violence and pain, cruelty becomes a critical, counter-cultural position hostile toward any conventions of representation, exhibition and indeed life-practice which impose limits on expression. Similarly, In de Bruyn's cruel practice, the traditional boundaries between film-maker, screen, and audience are broken (down) in what becomes something closer to a psychic experience of shock than 'a movie'. As de Bruyn shakes and swivels the projectors across the space and the backs of the audience, shadows and fragments the image with his body and hands, and screams savagely into the microphone, something un-wished-for passes from the artist through to the nervous system of the spectator. Though authentically cruel, I argue that de Bruyn's expanded cinema is best understood not as a conceptual heuristic - a calculated application of Artaud, or sort of conscious 'new Artaudism' - but rather as a parallel development, a homologous strategy by an artist striving precisely to give form to his trauma or perish. Steven McIntyre, Independent Scholar, Australia Steven McIntyre is a filmmaker and media academic at Deakin University, Melbourne. Top of Form Bottom of Form" @default.
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• W2248014725 date "2013-01-01" @default.
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• W2248014725 title "Trauma/memory/expanded cinema: the films of Dirk de Bruyn" @default.
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