Corinne Cantrill

As the camera moves gently from afar into the very heart of the monolith, the magic of the holiest site of the Aborigines unfolds in shimmering nuances of light. Shot at different times of day, the close-up and panorama shots of this more than 500-million-year-old stone formation combine silence and acoustically altered birdsong to convey a feeling of timelessness into which a sense of loss is also inscribed. The somnambulistic moonrise in the great sky seems almost like an abstract painting and yet it is real. The areas of discolouration in the film material caused by problems in the developing process were deliberately left in the film as a metaphor for the looming threat to this natural environment through bushfires and tourism.

No synopsis available yet.

Ayers Rock is examined in the light of its ancient human and animal associations. It is seen under various light effects which create different colour and texture impressions. The timelessness of the monolith is suggested by negative colour, the result of using fine-grain Eastmancolour print stock in the camera, a slow speed material which required the intense Central Australian light for adequate exposure. A half-speed recording of the local bird call and insects contributes to the sense of cross eras. Human perception of time, colour and sound is questioned. As Einstein said: 'The distinction between past, present and future is only an illusion, even if a stubborn one.'

Hand-drawn directly onto 16mm film, this animation is a 'diary' of daily drawing-on-film practice by Ivor Cantrill over a period of 18 months. Drawing style ranges from bold geometric patterns, to a delicate calligraphy.

The beauty of the Australian bush is depicted in a carefully composed camera choreography of different aspects of flora and fauna. Close-up and panorama shots and Aboriginal music meld into a meditative view of the energy and harmony that shape the place.

In the Brisbane Creative Leisure Centre, conducted by the Cantrills, children, with a minimum of instruction, build up pictures from a large variety of hardware materials such as chain, wire, nails, screws, case fasteners, steel wool, copper sheet, etc., nailed or glued to sheets of plywood.

TWO WOMEN records our passage through the tribal lands of the Central Australian region – a personal charting of this mythical landscape. The film is shaped by an unedited recording made of a Pitjantjatjara women’s song cycle: "Two Women", which describes the travels of ancestral women through this region. The film is not a literal interpretation of the song story, and there is no translation of the song. We are outsiders to this culture, and must therefore learn what we can from the ‚surface’ of the song cycle – from the voices singing, talking, whispering, coughing, laughing, reprimanding children.

short experimental film by Arthur and Corinne Cantrill

Experimental Super 8 film from 2001 by Arthur and Corinne Cantrill

"Island Fuse consists entirely of the monochromatic reprocessing of black and white footage that we filmed in the 1960s on the Isle of Stradbroke. Using an analysis projector, Island Fuse is a film that focuses on the interaction of the elements that produced the film: the analysis projector, the camera and its various mechanisms; filters, the projector and its mechanisms; the ribbon and the photograms; the operators."

It's a three-colour separation study of MacKenzie Falls in the Grampians, Victoria.

A short animation of Charles Lloyd’s dry points. Sound composition by Arthur Cantrill.

The footage for this film was shot in London during our research into the Vorticist movement. It is a montage of images from the Vorticist magazine Blast, including Vorticist drawings and texts from the manifestos. A screen made from a collage of photographic enlargements from the magazine was prepared for the screening of this film. The soundtrack evokes the sounds of World War I, which were, in a way, the climax of the Vorticist movement in England. During the Expanded Cinema presentations, excerpts from Blast were read during the film screening. (Arthur Cantrill & Corinne Cantrill)

Three-color separation imagery expands the experimental documentation of landscape. Alternating nuances of color conjure up; a formal beauty, which are echoed in birdsong and the buzzing of insects.

Made from image fragments from Will Spoor's footage, it was our first direct foray into the relationship between cinema and visual perception. It has two parts: Retina Imprints, an experiment on the persistence of vision, stretching and reorganizing movement in time, and Memory Imprints, fragments of strange images that remain impressed on the memory. (Arthur Cantrill & Corinne Cantrill)

3-colour separation film.

Evening performances of traditional Balinese dance-drama in Ubud, shot single frame with open shutter exposures.

Timeless elements in a roll of film: stillness, movement, woman, girl, road, wind, sun, leaves. A triptych of a girl who reminds us of the face and figures in old icons.

Super8 bi-packed onto 16mm with recurring patterns and combinations of superimpositions. (Arthur Cantrill & Corinne Cantrill)

The film Harry Hooton is conceived as a huge energy field combining the energy of light and colour, movement, editing and sound — a dense, vibrating, pulsating work, unrelenting in its thrust; a celebration of Hooton’s definition of art as the communication of emotion to matter.

An experimental work about the Australian forests by Arthur and Corinne Cantrill.

It was made quickly, in a student-style way, to be shown at a student drama festival. In the main sequence, we continue to explore the nature of perception in relation to cinema: six- or nine-frame shots of the 270 festival participants appearing like flashes on the screen as they announce their names. (Arthur Cantrill & Corinne Cantrill)

'The Room of Chromatic Mystery' is (...) another three-colour separation film, shot in the living room of the Cantrills’ old house in Brunswick. An ordinary domestic scene, with flowers and carved artifacts on a table by the window; but the borderlines of these objects quiver, and everything is bathed in a spectral or perhaps extraterrestrial glow. The mysterious soundtrack blends voices from earlier films – including the whispering of the singers in 'Two Women' – with discussions in a foreign language on a shortwave radio, drowned in static like the hiss of time escaping. An image of a place. An echo of a voice. (Jake Wilson)

Synopsis Part of a series of four studies the Cantrills made of the native flora of the Stradford Island, this one focusing on the Pandanus Pedunculatus.

Each screen shows exposure variations in a room with a seated figure, the sunlit bush seen through large windows, its tonality altering with the exposure changes. A stereo track of birdcalls and voices was added in 2010.

Part of a series of four studies the Cantrills made of the native flora of the Stradford Island, this one focusing on the Banksia Serrata.