Ghosts… of the Civil Dead (John Hillcoat, 1988)

AU, 93 min

insidious repression
breaking point


Central Industrial Prison is set in the middle of the desert. It’s the future of maximum-security containment and it’s been “locked down” after an explosion of violence. A Committee’s been appointed to report on the events that led to the violence but their findings are in stark contrast to the reality we see with our own eyes.. “Ghosts.. of the Civil Dead” is a powerful drama on modern methods of social control.

Ghosts… Of The Civil Dead is set entirely within the confines of a modern Maximum Security prison – a “New Generation” Prison painted in playschool yellows, bathroom violets and resembling your modern Shopping Mall. Central Industrial Prison is located in the middle of the desert. It has been “locked down” – the confinement of all inmates to their cells, 23 hours a day, indefintely – following an outbreak of violence, and a Committee has been appointed to report..

Ultimately, Ghosts… Of The Civil Dead….


Eclipse of the Sun Virgin (George Kuchar, 1967)

USA, 15m
16mm; color/sound



I dedicate this film poem to the behemoths of yesteryear that perished in Siberia along with the horned pachyderms of the pre-glacial epoch. This chilling montage of crimson repression must be seen. Painstakingly filmed and edited, it will be painful to watch, too.



the Wold-Shadow (Stan Brakhage, 1972)

USA, 3 min.

The Wold-Shadow imposes a sheet of clear glass between the camera and its object, a shot of woodlands. Shooting in single frames, Brakhage applies stunning layers of paint to the glass. –here


One day, while walking in the woods, Stan Brakhage had a vision of an unaccountable anthropomorphic shadow amongst the trees. Returning to the place some time later, Brakhage could not find the shadow again. He decided, instead, to compose The Wold Shadow, a cinematic homage to the god of the forest. Brakhage returned to the woods and placed a piece of glass on an easel between the camera and the trees that he planned to film. After composing each shot, Brakhage would take a single photographic frame, paint on the glass and then shoot the glass again, and so on. –mark rumsby