William Fowler

08.04.10
William Fowler William Fowler is Curator for Artists’ Moving Image at the British Film Institute’s National Archive. When did you start working at the BFI National Archive and what were you doing before that? It was June 2005, so I’ve been there nearly four years. I trained as a film archivist at the University of East Anglia and I had just worked at LUX,writing a website giving advice ...
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Thessaloniki Report by Rosemary Heather

13.01.10
Karpo Godina , I Miss Sonia Henie (1972) Rosemary Heather reports on Serbian Kino Clubs, Carmelo Bene, Timothy Carey, and Jeff Keen at the Experimental Forum at the 50th Thessaloniki International Film Festival. The Experimental Forum section at the 50th Thessaloniki International Film Festival offered such a rich viewing experience it is difficult to know where to begin when discussing it. The quality of the presentation was ...
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Sarah Turner on Perestroika

16.10.09
Sarah Turner APEngine talks to Sarah Turner, about her new experimental feature, Perestroika, which premieres at the London Film Festival. Why did you start making films? Oh god, I wasn’t really expecting a question like that! I went to art school because basically I was useless. Like everyone who goes to art school. There’s a quote – something like “People who go to art school don’t know what to ...
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Mark Webber

14.10.09
Showing the festival: Gustav Deutsch's FILM IST. a girl & a gun APEngine talks to Mark Webber about his programming for the London Film Festival. How – why – did you start programming? As a teenager I was obsessed with Andy Warhol and the Velvet Underground and reading books about The Factory and getting a little glimpse into that world, the New York underground. That’s my way in. I ...
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Army of YouTube by Rosemary Heather

07.10.09
Still from Jib Kidder's Heavenhurst Prophet Posse Faced with the awe-inspiring popularity of web-monoliths like YouTube, contemporary art risks becoming nothing more than a quaint relic of the 20th century. It’s probably not fair to compare contemporary art practice with YouTube; yet there is evidence to suggest that somewhere in the ulterior of its collective brain, the art world does just this, and finds itself ...
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