Filmed years after “At Uluru” (1978) in very different conditions, the film showcases the burnt landscape around a monolith in a land inhabited for millennia.
“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.
The Second Journey (To Uluru) is a continuation of the Touching the Earth films, in which Arthur and Corinne Cantrill turned their full attention to the Australian landscape. The films found little resonance at the time they were made, with this tribute to the outback coming across as too disconcerting and unsettling, both formally and thematically: an indication of the political dimension of the film.”
Born in Sydney, Australia in 1938 and studied Electrical Engineering. Since 1960, he and his wife Corinne Cantrill have been making 8mm and 16mm films together. They started out with films for children and art documentaries, and soon began making experimental films as well. The focus of their work is a filmic engagement with themes such as landscape, colour, light, film history and film technology.
Born in Sydney, Australia in 1928 and studied Botany. Since 1960, she and her husband Arthur Cantrill have been making 8mm and 16mm films together. They started out with films for children and art documentaries, and soon began making experimental films as well. The Cantrills’ joint filmography comprises more than 150 titles, including multi-screen installations and performances. From 1971 until 2000, they published the magazine Cantrills Filmnotes, an international journal dedicated to experimental film, video and related arts.
“Over a period of more than 60 years now, Arthur and Corinne Cantrill have created a filmic cosmos that is unrivaled in its polymorphic experimental visual and tonal abundance. Their works range from documentaries to experimental films, from multi-screen installations to performances and sound art. Between 1971 and 2000, they also edited and published Cantrill Filmnotes, an international journal about experimental film, video and the applied arts. Their oeuvre explores artists, social movements and particularly Australia’s landscape. The partly structural approach of their films transcends itself by highlighting the sensory aspect of the cinematic experience and seeking ways of revealing this and making it palpable in their works. The Cantrills’ keen interest in the relationship between landscape and the form of film soon led to a more profound conception of the Australian landscape as a part of Indigenous heritage and environment. The political dimension of the films illuminates their determined appreciation. “We are interested in a continuing dialogue between content and form. We also see this synthesis of landscape and film form as bringing together our attitudes as citizens to the conservation of land, forests and, seashore, and to Indigenous land rights. We have no difficulty in sharing the Indigenous belief that the landscape is the repository of the spiritual life of this continent.” (Arthur and Corinne Cantrill, 1982) Their artistic interest in technological approaches in film, film theory and reflections in film history led them to explore two and three-color separation extensively, resulting in some of the most beautiful works to use the medium of film to create a sensory realm of experience. Their oeuvre breathes a free spirit that is both beguiling and contemplative.”
1.11GB | 1h 15m | 790×576 | mkv