Prelinger Collages

PLACE, 2019

I made this film in early 2019, called ‘Place – The Physicality of the Screen’. Within the concept of Screen as Physical Space, I used multiple different clips and aligned them into several different ‘rooms’ within the screen. People within these rooms go about their days, as they are viewed by those outside the screen. As the rooms continue on, their na├»ve 1950s lifestyle becomes twisted, and the nature of the room itself becomes a prison for those inside, until the climactic ending. Eventually this will become a multi-screen physical installation piece.

“A knock on the door is nothing to fear…”

DRUGS, 2020

Prelinger Archive collage – in this piece I subvert the inherent authority of the ‘drug experts’ in the 1970s by showcasing them as drug users themselves.
This is a commentary on the widespread hypocrisy of authority figures when dealing with issues such as crime or drugs.

“BUY. DRUGS”

FOURTH OF JULY, 2020

This is my apocalyptic reimagining of several ‘Nuclear Safety’ shorts from the early 1950s. At the time the threat of nuclear war was on the minds of every American, and films like Duck and Cover and others were shown in schools, as I’m sure the PSAs used in this collage also were.

“That men, wherever they go.. will remember the Alamo.”

MARRIAGE, 2020

In mixing the patriarchal dystopia of Jealousy, 1954 with a short film exploring the familial life of cats, my film Marriage, A Sacred Institution is a subversion of both – with the trained cats of the original PSA serving as a great foil to the original narration of Jealousy.

“There! I knew it all the time. Lipstick! You deceitful liar…”

DOCTOR BANANA, 2020

In my film a deranged doctor who is obsessed with bananas performs an operation to turn a man into a bunch of bananas. In this film I use clips from a PSA about cancer treatment and a documentary about bananas.

“The order has come… cut fruit.”

FORTUNES TOLD, 2018

This film was my very first exploration into the medium – it follows a much more disjointed editing style, without as much of an overarching plot, but still very recognizable as the same style. Fortunes Told has a scene I’m very proud of where I edited scenes from 4 different pieces into one seamless car crash.

“Some eggs, Dad?”