Not Signed-In
Which clippings match 'Peter Bannan' keyword pg.1 of 1
06 MAY 2012

Outtakes from a 16mm colour film

Outtake from a 16mm documentary called "Horseplay" that was created by Simon Perkins in 1990. The film was shot on location in Waimate in the South Island of Aotearoa New Zealand at Philip and Lee Trusttum's farm. The footage was photographed by Peter Bannan on a CP16 with sound being recorded by Robert Sarkies on a Nagra. The outtakes show Lee, Philip and Robert as well as Vivienne Stone and Peter Leech. Note that the poor image quality is due to the crude transfer process which involved pointing a VHS video camera at rushes being played on a Steenbeck film editing bench.

1

TAGS

16mm1990analogue errorsartefactingartefactsauthentic residueclapperboard • CP16 • deleted • deleted scene • design processdetritus • edit out • editing • editing process • farmfilm • film burn • film scratches • final cut • flares • flash frame • flash frames • flashframes • glitcheshorseHorseplay (1990)Lee TrusttummaterialityNagraomission • outtake • overexposed frames • paintingPeter BannanPeter EvansPeter LeechPhilip Trusttum • removed • Robert SarkiesSouth Island • Steenbeck • takes • telecineunintentionally • unused • Vivienne Stone • Waimate

CONTRIBUTOR

Simon Perkins
11 MARCH 2012

Peter Bannan: director + photographer

"After gaining a degree in Fine Arts at Canterbury University in the mid seventies, majoring in European Film, Peter went on to make his name as a fashion photographer, shooting fashion for designers, catalogues and magazines both in New Zealand and off shore.

Ten years ago he co–founded his Auckland based film company Bannan Films and now after relocating to Singapore in 2008 is primarily directing commercials as a freelancer.

His fashion background gives his commercials a beautiful, visually unique style, while his cinema interests bring subtle, often quirky humour with strong characters and captivating storytelling. Peter has a relaxed, calm demeanor, which allows him to work well with babies & children, this also obviously comes from the experience he has had with his own three children."

(Peter Bannan)

1

TAGS

advertisingAotearoa New Zealand • Bannan Films • commercialsdesigndesign formalism • fashion catalogue • fashion magazinefashion photographerfashion photography • film directing • fine artsfreelancerPeter BannanphotographerphotographyshowreelSingaporeTVC • tvc showreel • University of Canterburyvisual communicationvisual drama • visually unique

CONTRIBUTOR

Simon Perkins
01 NOVEMBER 2005

Horseplay: Discussing Philip's Work At His Waimate Farm

Horseplay is a short 16mm documentary made by Simon Perkins about the New Zealand painter Philip Trusttum. The film presents a brief snap–shot of the artist and his surroundings at his farm in Waimate. The approach of the documentary makes no attempt to disguise the role of the filmmaker. In this way it pays homage to the Direct Cinema traditions through its use of hand–held camera, voyeuristic shots and off–camera audio.

The film was made in 1990 by: Simon Perkins; Peter Bannan; Vivienne Stone; Peter Evans; Robert Sarkies; Michael Brown; Philip Trusttum; Lee Trusttum; Peter Leech; James Wallace.

Fig.1 Simon Perkins (1990). 'Horseplay' 16mm, 9 minutes.

1
2

24 FEBRUARY 2004

A disturbing little film called A Little Death

"It's a long time since I've seen a film as genuinely disturbing as A Little Death. The title refers to the phrase 'un petite mort'. French slang for orgasm. This surreal film explores all the ambiguity of that phrase to devastating effect. A couple are making love. Or rather having sex – the hostility between them is palpable. The moment of climax flings them both into another dimension where the emotional savagery of their relationship is played out for real. Luscious colour photography gives way to crisp black and white, as Davison crashes through their bed into an identical room where everything, including her lover, is literally two–dimensional, bleached of life but tilled with an almost impersonal hatred. The tension that previously simmered beneath the surface is unleashed in images of extraordinary violence. Brophy, trapped in the 'wallpaper' of this unnatural room, can only scream as she takes her revenge. This ambitious script is well supported by its technically immaculate execution. It is tightly constructed, beautifully edited and the superb soundtrack is unusually effective, an integral part of the film rattler than (as too often happens) an afterthought. Much of the power of the film has to do with its purely visual logic, it didn't start to make sense to me until I stopped trying to figure out what was going on and just let the images wash over me. This is one of those rare films that can stand repeated viewings (providing you can) and serious philosophical debate, despite the fact its violent take on gender relations is more than a little disturbing. A Little Death is an uncommonly brave and passionate piece of filmmaking that stays in the mind long after it's been seen."

(Pavement magazine, 1995)

Fig.1 Simon Perkins and Paul Swadel (1994). "A Little Death", James Wallace Productions: 16mm, 11 minutes. [A Little Death externalises conflict between characters through the use of physical obstacles and camera perspectives. The film is an evolution of the "Into The Void" project.]
Fig.2 Natalie Robertson (1994). Josephine Davison is confused to find herself on a photocopied floor.

1
2

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.