“Sometimes the passers-by do not walk out of frame, but are dematerialized, faded out, turned into ghosts. There is one moment where an Erana surrogate sits down on the ritual bench next to a ‘stranger’ who gets up and walks away unconvincingly, conveying, in the most basic terms, how a sense of place and belonging is instituted. The film ends with a “Cinéma Vérité” shot with the cameraman out of hiding positioned in front of the bench, with Rumsby introducing himself to the couple. The camera comes eye to eye with its prey. On the voice-over Rumsby notes that after this encounter he went home had something to eat, listened to the radio and fell asleep.”
A landscape work in three parts being, a train trip across Canada, Chicago street scenes and the media as contemporary landscape.
Eighteen hours of activity in a house are condensed, and experienced aurally by the viewer.
Part One of a document of African American street culture in Chicago.
An excerpt from Martin Rumsby's ongoing project Landscapism, which seeks to establish a New Zealand landscape film tradition.
Summer Reading Series #2: Seeing Eye to Eye
In the second essay of 2016's Summer Reading Series, Dirk de Bruyn looks at where Martin Rumsby's work Eye I Aye sits in the history of experimental film.