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Michael Robinson

Here’s a few little somethings for you to take home for the weekend. Or to help pass the time this afternoon. Instead of just sitting there staring out of the window wishing you were a kid and could just go playing in the beautiful, sunny park rather than having to sit at a bastard desk, freezing under the ramped-up air conditioning unit. Boo hoo hoo.

Anyway. Enough self-interest and pity. Michael Robinson is our ostensible topic, and one which we shall adhere to.

We first came across this experimental filmmaker via Jonathan Caouette (director of the excellent autobiographical documentary Tarnation) and were immediately blown away by his beautiful, hypnotic, mysterious and quite often just downright weird films. Using a diverse range of sources, effects and techniques – collage, archive, distortion, feedback, soundtracking, subtitling – he’s spent the last 11 years creating postmodern dreamscapes; at times nauseatingly kitsch, at others deeply disturbing. Throughout his work though a constant voice can be heard: an exploratory yearning for a lost or forgotten world and, at the same time, the terror of existing solely through a vicarious and pernicious media. He’s strongly influenced by pop art, surrealism and the DIY aesthetic of the mid-90s but has turned these concepts into something startlingly original, albeit an originality that his since been co-opted into something of a trend. A lot of current video artists and music video makers have a lot to thank him for.

Check a selection of his work here. And don’t miss the opportunity to catch one of his works in the Altered States programme, featuring as part of the Experimenta section at this year’s BFI London Film Festival. It should be very good indeed.

Image is by a photographer that we’ve featured before and will probably feature again, chiefly because she’s brilliant: Barbara Crane.

This entry was written by Mary J Bilge and published on September 30, 2011 at 3:23 pm. It’s filed under Film and tagged , , , , , , , . Bookmark the permalink. Follow any comments here with the RSS feed for this post.

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