Posts Tagged ‘ACMI’


Monsters, Ghouls and Melancholy Misfits – a season of films @ ACMI 09 – 18 July 2010

June 3, 2010

Two ACMI posts in a row is almost self indulgent, but anyone who has read through this blog would understand that I couldn’t leave this particular event unmentioned!  A season of underground/lesser known horror, grostesquerie and ghoul films alongside some beloved classic schlock to coincide with ACMI’s Tim Burton exhibition in July.

The week-long spook-fest includes the following films:  more information about session times and bookings here:

Freaks + Frankenweenie

Tod Browning’s cult curio from 1932 screening with Burton’s Frankenstein-inspired live-action short.

The Elephant Man

David Lynch’s moving Victorian-era drama about a hideously deformed yet disarmingly genteel man.

Jason and the Argonauts

The mythological 1963 fantasy classic with special effects by stop-motion wizard, Ray Harryhausen.

Frankenstein + Frankenweenie

Mary Shelley’s gothic novel spawned both James Whale’s Universal classic and Burton’s 1984 short.

Frankenstein Must Be Destroyed

Terence Fisher’s 1969 Hammer horror, most faithfully inspired by Mary Shelley’s gothic story.

Black Sunday

Mario Bava’s moody gothic horror from 1960 made a star of cult ‘Scream Queen’ Barbara Steele.

Baron Blood

Mario Bava’s Austrian-set Grand Guignol gothic melodrama, with Joseph Cotton and Elke Sommer.

Nosferatu: A Symphony of Horror

F.W. Murnau’s iconic 1922 German Expressionist classic.


Bela Lugosi stars in Universal’s enduring 1931 adaptation of Bram Stoker’s literary classic.

Forbidden Planet

MGM’s 1950s sci-fi cult classic, shot in Cinemascope and starring Robby the Robot – as himself!

The Raven + Vincent

The Universal Pictures’ classic starring Bela Lugosi screens with Burton’s early stop-motion short.

The Pit and the Pendulum

Roger Corman’s extravagant Edgar Allan Poe adapatation co-stars Vincent Price and Barbara Steele.

The Tomb of Ligeia + Vincent

Roger Corman and Vincent Price re-team for Corman’s brilliant, U.K. set, Edgar Allan Poe adaptation.


Banksy film showing @ ACMI for 2 weeks: 03 – 18 June 2010

June 3, 2010

A flying visit for the Banksy street-art film ‘Exit Through The Gift Shop’.  Especially in the light of MCC’s recent daft erasing of one of our last public Banksy pieces, this is as close as many fans will get to his work for a while. The film has shown across the world in a number of exotic locations, with the premiere in London being shown in an underground disused bunker.  ACMI, although far more normalised a venue, has screens and sound which should do the film justice.  See it if you can!

More information from ACMI below:

Street art goes celluloid

Feature Image Banksy keeps to the shadows

What exactly are we looking at here?

Exit Through the Gift Shop
is a Banksy film – Bansky being the elusive street artist who has tattooed walls from London to Hosier Lane, marking up public space with his satirical stencils and blurring the line between vandalism and invaluable cultural commentary. He has spray-painted British coppers embracing and rats under parachutes; he has written sky-high messages for downtrodden commuters; he has glued idyllic pictures to the West Bank barrier. No doubt about it, the man is a legend, and no less for his anonymity than his art. In almost twenty years of street art activism, Banksy’s true identity has remained a mystery (a much easier way to break the law). He has carefully guarded his personal particulars while encouraging speculation with bold, highly visible gestures, like hanging his own work in the Louvre and distributing counterfeit bank notes featuring Princess Diana instead of Queen Elizabeth (issued by the ‘Banksy of England’). As his stunts have gotten bigger, the evasive Banksy has become more and more fascinating, and Exit Through the Gift Shop could be his biggest stunt yet. It’s a film by Banksy, but it’s not really about Banksy. It’s about a crazy guy called Thierry Guetta, who became obsessed with Banksy. And it’s about the art world, which became obsessed with Thierry Guetta. The thing is, some people think Banksy IS Thierry Guetta. In which case, Exit Through the Gift Shop really is a film about Banksy. This is pure speculation, but he is one crafty mother duckster. I wouldn’t put it past him.

Exit Through the Gift Shop is screening exclusively at ACMI from Thursday 3 to Friday 18 June. Click here for session times.


Free Electronix and Film @ Acmi Thursdays till June

April 3, 2009

Synaesthesia @ Late Night Thursdays

Selected Thursdays between 2 April – 18 June 2009 from 6.30pm
Studio 1, Australian Centre for the Moving Image, Melbourne
Free – limited capacity. Pick up tickets at ACMI Box Office on the day to ensure entry.

The Australian Centre for the Moving Image (ACMI) will present an exciting fusion of sight and sound as part of Late Night Thursday’s program from April to June.

Synaesthesia is a program of free live performances exploring different forms of the moving image, including media art, newly interpreted live film scores and works that draw on sound and film archives. The program will feature intimate showcases from Mink Engine, Outpost Collective, Robin Fox, Abject Leader, the Ang Fang Quartet, Jean Poole with DJ CanCut, Gossip Pop, Paul Robertson and a live collaboration between Qua and Isobel Knowles, all live in Studio 1.

Thur 2 April
Mink Engine Acres of Diamonds DVD launch + Q and A
Thur 9 April
Mink Engine (live performance)
Thur 23 April
Outpost Collective + Robin Fox (live performances)
Thur 7 May
Abject Leader (QLD) (live performance + screening of films)
Thur 14 May
Ang Fang Quartet (live score to The Cabinet of Dr. Caligari)
Thur 4 June
Jean Poole with DJ Cancut + Gossip Pop
Thur 18 June
Qua with Isobel Knowles (live performance) + Paul Robertson (screening)


Catch Replay Marclay at ACMI before the last repeat – February 3rd

January 19, 2008


 Replay Marclay is an exhibition currently showing at ACMI @ Federation Square until Feb 3.  It’s a freebie exhibition showing in the basement and showcases the video/sound art of installation art maestro Christian Marclay.  The exhibition was first conceived in France and is doing the rounds in ACMI until February 3rd. As you walk down the stairs you hear the first exhibition, and at the bottom of the stairs you’ll be handed an exhibition pamphlet by an ACMI employee who must either seriously enjoy experimental sound, be well paid or take it in turns, as there seems to be someone down there to greet you throughout the exhibition. The exhibition is in no particular order important to appreciation but if you’re soothed by chronology there seems to be at least a vague nod to this, with his earliest work close to the stairs.  His work is  experimental and conceptual:  you won’t be looking at some MTV video wall – Marclay works with sound as collage – filming people using instruments and records to make sound – but not using them to make music in any conventional way. He also cuts existing film of sounds – some in quite famous films you’ll recognise – to make experimental arrangements.  Sounds intriguing?  Saying any more will definitely spoil the experience a little so to know more escape January’s extreme temperatures (whether it be scorching heat or unexpected rain) and duck into ACMI to take a look fo r yourself. 

The first couple of pieces are interesting insofar as you can see his developing skill and interest in the subject matter of noise bricolage, reassembling sound and vision or focussing on sounds which are not in themselves usually described as ‘musical’ as music.  These themes develop throughout the rest of the exhibition, with several small rooms housing visual and sound pieces of a few minutes each.  

 What is good about Replay Marclay: My personal highlights are ‘guitar drag’ and ‘crossfire’, but telling you too much would possibly change your expectations so I’ll keep this vague but strongly encourage you to see this exhibition even if just for these two spectacular pieces.  Also, it’s free. 

The downside: the early work is a little dodgy in many ways , although it does show his development it has little resonance in comparison to later work.  You might, however, get some ‘daft art for arts sake New York improvisation’ effect from these early pieces. No matter: it probably was daft art for art’s sake but it certainly lead Christian Marclay in more interesting directions later so – art on, Mc Duff!

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