Movies: Dirk de Bruyn

This film re-animates stereoscopic images of Melbourne from the 1920s. Technically the film makes a statement about how each new iteration of moving image technology reclaims artifacts and gestures from the past. Such an archeology enables the viewer...

A caravan of experimental imagery created from reaching deep in the soundtrack area of analog film stock....

film by Dirk de Bruyn & Glenn D’Cruz...

Dissociation is an abstract materialist film that has migrated from 16mm film to the digital. It is made up of scratches, half-baked images and flicker. The film explores the tension between the image, the written text and the spoken word and the con...

Empire re-animates found historic stereographic photographs predominantly of Melbourne’s city centre between 1927 and 1940 when the colonial trace was slowly receding to produce a stereoscopic effect. Melbourne’s main Flinder’s Street Intersection is...

When the British flag was first planted on Australian soil with the words "there is nothing here" the colonisers set up a tradition of denial. This still plagues us as a founding principle. What is festering in Australian backyards are generational d...

WAP stands for White Australia Policy, a racist policy which limited migration into Australia into the nineteen fifties. This policy can be read as a marker of the guilt surrounding the Aboriginal genocide that had blotted white settlement of Austral...

An experimental film dedicated to the "blink". Dynamic abstractions (created through the use of prodigious optical printing and directly working the film frame) investigate the nature of human optics. Music by Maurizio Kagel....

Groundbreaking experimental/avant garde travel diary essay film. A reflection on communication....

An abstract play of light, colour, geometric shapes and patterns synchronised with synthesised music. The image patterns have been created by scratching, drawing, painting and overlaying directly on clear and opaque film and fragments of photographed...

Dirk De Bruyn’s eleven-minute RemmbrME (2007) is a visually engaging film that documents in a painterly fashion the numerous gaps and intersections between analogue and digital moving image manipulation. RemmbrME is a work that critically focuses on ...

We are told at the beginning that “this film is dedicated to Len Lye” and indeed the camera-less techniques used here – various combinations of dyeing, cutting, scratching and painting the film strip – as well as much of the imagery in Migraine Parti...

A time-lapse document of a farmhouse in the Netherlands mapping the changing seasons, the light and shadows. Made with an interval-meter fashioned out of a wind screen wiper motor....

The roving eye in the crowd. Flickering sunlight. Fast forward. B4 it was seeing faint movement on the distant horizon. Now the skill is to see the rush from the passing car. We are on the run. Visual experiences that cement out daily lives, with an ...

An intense and sometimes disturbing series of encounters between the filmmaker and his mother as they relive the traumatic years of his childhood and adolescence. Following the migration of the family to Australia from Holland in the difficult postwa...

Silent, but often paired with Burt & Chabade's Four Possible Soundtracks for Dirk De Bruyn's "Schist" (1999)....

Consists of scratched and reanimated found industrial and discarded personal footage. The sonic soundtrack is similarly reconstructed from scratches, pen marks, Letraset strips and the music and phrases of found films....

"...No photographed images. All handmade. It's all these squares, lines. The main techniques were bleaching and dyeing and sticking letraset material to the film strip. The images don't rush: they much more fold over the top of one another. Palimpses...

The film follows walking feet and progresses to a preoccupation with the dancing shadow of the camera and the filmmaker. Much of the footage was home-processed to obtain the golden colours and solarization effects. In part the film documents the mark...

A celebration of the offal of cinema, old films, old soundtracks, drawing directly on the film, using stamps and food-dyes to create discarded imagery. To chew film up and spit it out as painting direct....