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The Best Richard Tuohy Directed Movies

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poster

63

11

6.1

/93/

68

/5/

55

/10/

3.4

/649/

Hong Kong marked twenty years since its hand over; halfway through the planned forty year "one country, two systems" transition. Taiwan, once imperial China, once Formosa, now ROC on the edge of the PRC. Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China.

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5

/1/

Half-tone dot "screens" intended for use as shadings and tones in Manga comic illustrations have here been "photogrammed" directly onto raw 16mm film stock. A flicker collage of these dots has then been created using a 16mm film printer. The sounds heard are those that the dots themselves produce as they pass the optical sound head of the 16mm projector. This is a camera-less and sound-recorder-less film.

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6.9

/7/

70

/1/

The evening seemed very disturbing to me, as if the approaching night was something to be feared. It was as if, when night fell, you couldn't escape and had to face unspecified consequences. Maybe the earth will remember and the night will reveal what we could have done...

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7.2

/7/

In 2012, Richard Tuohy made "Screen Tone" using patterns of dots printed straight to 16mm film. By doubling this principle in "Dot Matrix", a third, dizzying moire pattern and a deafening noise develops in the flicker (alternating black and white frames) because the dots also pass by the sound head.

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60

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Motorcycles and cars are lost in the sound of traffic and disappear in bands sliced into film footage of Jakarta’s roads. The horizontal and vertical lines or checkerboard patterns emphasizing the density and chaos of the crowded roads were made by optically printing 16mm film.

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50

/1/

A city of brick, tin and board, rent by internal tectonics and sliding into the sea.

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Refraction can be very satisfying. Especially when working with camera original Ektachrome on 16mm. There is nothing not to love about camera original Ektachrome – except perhaps its vulnerability as a 'one off'. It is beautifully suited to optical experiments and for exploring what is going on in the lens. Here we play with the endless dance of specular reflections on water.

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High country, high contrast. A collision of lines and patterns from the wood of burnt trees.

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Filmed on the broad, tree-less expanse of the Hay Plain, Horizontals makes a game of the endless horizon.

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“Tree ferns filmed and then re-filmed on black and white film are inter-cut to produce a collage of green tinted positive images and green toned negative images. As the ferns’ leaves are pale in dark surroundings, the tinted positive yields green leaves in a black background, and the toned negative green leaves in a white background. Excerpts from Schubert’s Schoene Muellerin lament and laud the colour green by turns.”

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A 'rover' lands on a red planet and explores its mysterious surroundings. This film was made at the time of the Huygens/Cassini probe to Titan. Really, its a film about a certain kind of fixed but loose mechanical camera movement.

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Pear Shapes ... one of two 'weed' films I made. In the 1950s, prickly pear was a major weed problem in Australia. This is one weed we managed to beat with biological control. I found a nice confined crop of what I thought was prickly pear and made this abstract film. While a weed species, they made a stunning feature of the landscape. Basically I am playing here with the plant's disc shape. Actually the plant concerned isn't prickly pear at all, but a close relative called 'wheel cactus'. Prickly Pear proper has oval shaped body elements, rather than the more stunning circular shape of wheel cactus. The plant looks and is wrong in the Australian landscape. This film also flirts with boarders and boundaries, with these little 'family groups' of cactuses perhaps as metaphors. (Richard Tuohy)

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Slow motion abstractions and analyses of bodies in motion.

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Bones of a dead Tasmanian forest colourfully ‘ re-animated’ in a film printer.

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'The Mallee' is the name given to the arid north west corner of Victoria. Ironically, given it is the most arid part of the state, 'The Mallee' is also a major food bowl in Australia due to massive irrigation schemes, the dry climate and well draining sandy soil. It has long been an area of big government projects and schemes: it has a history of being environmentally stretched. There are also, however, a number of large national parks in the Mallee, mostly in areas of ancient sand dunes that wouldn't pay development. These arrid parks with there 'mallee-formed' multi trunked stunted Eucalypts, gnarled native cyprus tree and other scrub species have a beauty and fascination that is quite unique.

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An abstract exploration of the curves and twists of the Australian alpine tree the ‘Snow Gum’ – Eucalyptus Pauciflora.

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A movement study of a restless hand. Made from one five second shot, with sound constructed from an old French folk tune played on a hand cranked music box. This film exploits the visual possibilities of the 16mm contact printer.

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A performer descends the stairs. Direct film mattes frame glimpses of the motion. Phase-looping duplicates the glimpses into a cascade of humanity. A game played with colour separations, motion following hand scratched and painted mattes and a perpetual descending figure.

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Granite tors scattered over 20 square kilometers around Tooborac in central Victoria dance in energetic celebration of their own endurance.

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A restless hand, folding and folding onto itself. It makes no sound... and all the sound in the world. In the era of covid, we have become used to making contact only through digital intermediaries. Touching, making hand contact with each other, has taken on new meaning and new unexpected implications. We increasingly reach without touching, and grasp with hands that remain empty, washing away in a digital stream.

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Flyscreen is a camera-less ‘rayogram’ film, made by layering fly-screen material onto raw 16mm film stock and then exposing to light. The sound heard is the optical sound of the images passing the 16mm optical sound head.

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Workers of the word, in yellow vests, building other people's dreams.

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Iron-wood is an abstract visual exploration of the deeply fissured 'cog-like' bark of the Australian tree Eucalyptus Sideroxylon (Red Ironbark).

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A chronicle filming the journey from the directors' accomodation in Seoul to the Space Cell labs and workshops.

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Humanity approaches in an ineluctable wave of uncertainty, hope and inevitability. A ferry crossing in Mumbai stands here for all such places and times of human expansion and human vulnerability.

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Screens and partitions; windows and shutters; grids, curves and arches. Three peoples, one country: Malaysia.

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A blinding beam of light. The piercing sound of ships. Everything—the land, plants, the sky—shouts for attention. Perceptions assail us with their demands to be noticed.

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Barcelona, immediately after the independence referendum. Shot on black and white film stock using a re-invented colour separation technique. Dedicated to the spirit of independence everywhere!

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A constant series of tiny collisions.

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A staccato study of street level action and inter-action. People and vehicles on everyday journeys are atomised into coursing fragments of light, shadow, angle and inertia, reiterating and disassembling the creation of motion out of still frames at the heart of cinema. Filmed in ten cities on four continents.

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It is an experimental film in which the best of the structural film tradition merges with an urban symphony. A busy intersection is a plentiful source of the scenes that form a rhythmical unit with its own structure and meaning. The celebration of cinematography in its very own realm of images and sounds!

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Found in the (now possibly lost) film archive at Lab Laba Laba in Jakarta, footage from a trailer of the 1981 Indonesian propaganda film Kereta Api Terakhir (The Last Train) melts into a soup of chemigrammed perforations. A film about the silence that follows the unspeakable; about blurred visions, untold histories and inaccessible archives.

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A short film using the Pulfrich effect.

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The literal frame of a window overlooking a small garden becomes the scene through which Richard Tuohy’s film exploits the myriad plastic potentialities of the cinematic frame. Immersive and stroboscopic, In and Out a Window offers its own variations on cinema’s mechanical segmentations of space and time, opening up a portal to undiscovered dimensions and new phenomenologies.

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A North Asian metropolis. Electricity wires draped like thick webs adorn the streetscape. Expolsive sparks of colour electrify the frame. Filmed in Seoul in black and white. Colourised during processing using coloured torch light.

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A camera-less portrait of the artist. Super 8 cartridges placed inside a black cotton bag, the film advanced via a hand crank. The tiny gaps in the fabric weave make for dozens (hundreds? thousands?) of tiny pinholes.

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