Andrew Ray over at Some Landscapes has been posting about experimental landscape films, including Chris Welsby‘s Wind Vane, Tree, and other “landscape-generated landscape films”; Sarah Turner’s Perestroika; the “Land Art for the landless” films/performances of Francis Alÿs; and others.

Catherine Grant writes about Turner’s hypnotic and haunting Perestroika at filmanalytical. “Films think,” Turner says, “they embody theory affectually” (in which she is echoing Film-Philosophy founding editor Daniel Frampton’s Filmosophy).

From Ray:

“the film’s ‘extreme psychogeography’ culminates in the narrator’s vision of Baikal, the deepest lake in the world ‘and the zero-point of Siberia’s status as a weathervane of global warning, landscape and mind’, as ‘a lake of fire awaiting the final sunset’.”

For Turner, as Sophie Mayer recounts, “the IPCC report before Copenhagen stated that the Amazon rainforest will burn when the temperature rises two degrees. ‘It’s a cultural real that is outside a Western imaginary because we don’t live in the extremes of climate change.’”

Here’s a piece of it:

Excerpt from Perestroika (©2009 Sarah Turner) from Catherine Grant on Vimeo.

Be Sociable, Share!

Related posts:

  1. Ukrainian Poetic Cinema series
  2. cinema, ontology, ecology
  3. Toward an ecophilosophical cinema
  4. Illienko’s poetic cinema
  5. 2 or 3 things about the cinema book
  6. cinema as Prospero’s organic machine