Sunday, August 20, 2017
Apostrophe S trilogy with Hangway Turning in 1900, it was time to turn to part three. Except there wasn't really a third installment, with most of the what one might now call hauntological elements about ghost sightings, ley lines and shifting landscapes having been suitably explored in the first two parts. Nonetheless an application was made to South East Arts (who had generously supported the previous two projects) with an outline detailing the further research of Thomas Cubitt. Things had moved on at SEA however with TV people now on the grant selection panel and a more commercial remit being adopted, part of that idea that took hold in the late 1980s and early 90s that experimental film was really only a stepping stone to feature production. So the application was declined, I did however later that year pick up a small development grant of a few hundred pounds from Greater London Arts which paid for about twenty rolls of super 8. A small crew was assembled from members of Paul Bush's film workshop, of which I had become a member, and we spent a few nights down in Greenwich in the what was then still industrial dockside. There was a vague espionage narrative, which was really a cover for another shifting landscape scenario with a figure appearing and disappearing in a maze of half-lit alleyways. Using only available street lighting, even the fast black and white Tri-X film stock was really not fast enough to capture more than occasional highlights.