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After Thought
Daniel Jewesbury

After Thought is a film poem, shot on a clockwork Bolex 16mm camera on Fårö, in Gothenburg, and in Grimeton, in 2018 and 2019. The soundtrack was recorded on Fårö and in Gothenburg.

The structure of the film is associational and instinctual. Colour, light, movement, and natural elements are the film’s main focus points. Motifs recur and moods are created or undercut through the relation of image and sound.

The soundtrack includes music performed on Käbi Laretei’s grand piano, as well as a multitracked conclusion on harmonium, based on a theme by Olivier Messaien; but these facts are unimportant to the film itself.

The film also tries to suggest a new materiality for a film negative that has been edited and processed digitally: the end result is something that could not have been made in either a purely analogue or digital domain. I don’t use 16mm film because of a fetishistic attachment to analogue technologies, but because of a fascination with the serendipitous nature of the medium. Manipulating analogue materially digitally transforms both realms equally and imposes a different discipline on every stage of the filmmaking process.

The camera was operated, and music performed, by Daniel Jewesbury and Jenny Luukkonen. The film was partly made during a residency at the Bergman Estate on Fårö in 2018. 

Keywords Landscape, Nature, Experimental, Montage, Abstract
Prod. format 16mm
Duration 00:09:31
Language No dialogue
Color Color+bw
Sound Stereo
Year 2023
Rent this work for public screenings

About the artist

Daniel Jewesbury

Daniel Jewesbury (b. London 1972) studied Fine Art in Dublin, and then lived in Belfast for over 20 years. He moved to Gothenburg in 2017.

Daniel uses film to find ways of re-imagining our relationship to the world around us. One recurring theme is the death of the city as an ideal: a space in which we could come together to build community and collectivity. As our cities have increasingly become just instruments for producing private profit, we have been driven further from the processes which shape them, and which shape us.

Daniel works with both 16mm and digital video, and is curious about the particular materiality that results from working between analogue and digital.

Daniel also works in other media. His long-term project Looking at the Woman in a Bomb Blast reinterprets the history of sexualised violence in Western art. It encompasses a series of performances, a forthcoming artist’s book and, in the early stages of development, an opera.