Theme to the film, "The Story Of The Borders Railway," this is George Inglis' latest single, "I Am The Train" which celebrates the return of part of the Waverley Line back to the Scottish Borders. After almost 50 years without a train service in this part of the world, trains finally returned in September 2015 under the name, The Borders Railway. As well as Class 158s, and the occasional Class 170 trains, there is also a steam train service, with the Union Of South Africa locomotive (featured in this video to accompany the song) playing a big part in proceedings by taking Her Majesty The Queen along the line from Edinburgh to Tweedbank to perform the official opening ceremony, as well as hauling vintage carriages throughout September and October. George is one of the most popular singers and writers in Scotland. In the song he namechecks the new stations on the route. The video, produced by Stuart Cameron, was filmed on location along the length of the Borders Railway and also at Whitrope Heritage Centre near Hawick. Our thanks to them for their help and co-operation. www.GeorgeInglis.net

• published: 03 Sep 2015
• views: 0

http://elumiere.net/ http://www.facebook.com/pages/Revista-Lumi%C3%A8re/115934618438625 While touring with my films in Spain this past spring, I had the pleasure to be honored with the attention of three young men who offered me the opportunity to participate in the following interview. I was touched by their earnestness, but also by sensing something out of the ordinary in their project. They seemed not of the common thread and their knowledge and respect for the subject matter was surprising and inspiring. How could they know so much about the American avant-garde. We made a date to meet in my hotel lobby on Saturday a little after breakfast. That morning, I awoke not too well and realized that soon a three hour video interview was expected. I did my best to muster up my energy and after a few cups of coffee and something to eat, we were all sitting around and preparing to begin. Right from the beginning our conversation drifted toward the subject of film language and what I found inspiring within the American avant-gard and in films in general. This train of thought developed in many directions. I am happy that through the lucky coincidence of all present, something that began as an interview, quickly turned into a thing more marvelous, a genuine exploration. After doing some editing in Spain, they presented me with the most wondrous of surprises: an interview, illustrated with film clips, a little like a dream. That this all came about spontaneously and in such an ordinary and friendly way is a great joy for me. I am extremely grateful. I only ask your indulgence for my exhaustion which results in many errors of speech. I find it interesting that my hands have come to the rescue and are vital players in the communication. Nathaniel Dorsky *** (Parte I-IV) ENTREVISTA CON NATHANIEL DORSKY Francisco Algarín Navarro, Félix García de Villegas – 130’ – Video – Color TABLA DE CONTENIDOS PARTE I: Nueva York, años 60 Materialidad del soporte, duración e idea de plano. Alaya, Pneuma (Nathaniel Dorsky) . Comienzos del cine estructuralista. Ernie Gehr (History, Serene Velocity), Paul Sharits (Axiomatic Grannularity) · Experiencias primeras: Chumlum (Ron Rice), Stan Brakhage. La invención de un lenguaje real. Tabús de la imagen: sobreexposición, subexposición, desenfoque (Anticipation of the Night) · Caminos del bosque: Ingreen, bajo la influencia de Gregory J. Markopoulos (Twice a Man)· La Washington Square Gallery de Jonas Mekas · Proyecciones en los apartamentos: la vida (y el trabajo) en comunidad · Primer encuentro con Jerome Hiler · Formación de un grupo · La música y la sensibilidad (The Tree of Life) · La creación de una primera sintaxis: The Riddle of Lumen, de Stan Brakhage · Bad boys: Flaming Creatures, de Jack Smith · Encontrar una forma “alrededor de Brakhage” (Phil Solomon) / Encontrar una forma “a través de Brakhage” (P. Adams Sitney) · Líneas principales puramente visuales. PARTE II: El montaje polivalente Proyectos “sincrónicos” y proyectos “orgánicos” · Poesía y progresión de los planos · Montaje polivalente en el cine primitivo: Man with a Movie Camera (Dziga Vertov) · Sueños dentro de sueños versus montaje conceptual o paralelo en Vertov · Dziga Vertov versus Joseph Cornell · Primer encuentro con Warren Sonbert, Robert Beavers y Ken Kelman · Exploración del aspecto primordial del cine: prácticas de grupo · El hallazgo de Romance sentimentale (Grigori Aleksandrov, Sergei M. Eisenstein) y Anticipation of the Night · Los orígenes de Stan Brakhage y Marie Menken · Exploraciones de la poesía · Las películas de Jerome Hiler · Descubrimientos reales frente a la llegada del video e Internet · Haircut (Andy Warhol): tabú y materialidad de la película · On the Road, de Jack Keoruac: la rectitud del mundo antiguo · ¿Es el cine estructuralista moderno? · Experiencias reforzadas de la visión · “Open montage” (P. Adams Sitney) · Etimología del montaje polivalente · El montaje polivalente de Warren Sonbert · La interpretación de los sueños de Sigmund Freud · Conexiones entre imágenes individuales y sintaxis propia · John Ford y la proyección de los sueños. PARTE III: El montaje polivalente (II) Meditación en Alaya y Pneuma · Articulaciones en forma de “ramilletes” · Motivos y objetos de estudio · El grano de arena y el grano de película · La idea de “antorcha” · El asunto del montaje: de lo múltiple a lo simple · Mundo emocional y abstracción · La imagen no conceptual · La idea frente a la psique · El arte occidental y “la idea de algo” · Conversión de los objetos en presencias · “The Place is the film” · El proyecto de Triste · “Present tense” o presente cinemático· Variations (Nathaniel Dorsky) · Películas-semilla / películas–flor · Procesos de expansión del plano · El espacio paralelo del plano · Relaciones de montaje (Eisenstein) · Ideas secund

• published: 30 Sep 2011
• views: 6281