From Me To You—


Welcome from AURA/CIRCUIT Director Mark Williams

Nina Tonga—Opening Address


Thierry Jutel—First-person documentary narratives of illness: mode of address, subjectivity, and embodiment

This presentation looks at the specific instances of first-person documentaries where the filmmaker is ill, faces major life changes, a contested diagnosis and often, an uncertain prognosis. This is often in the context of conflicts and/or tensions with medicine, the medical establishment and the social alienation arising out of being ill.

Milly Mitchell- Anyon—Summer Holiday 1962

This paper will consider how one of Patrick Pound’s early moving image works, Summer Holiday 1962, addresses the HIV/AIDS crisis in the mid-1980s. The work was made in 1986, at the same time Aotearoa was passing the Homosexual Law Reform Act in parliament.



Gavin Hipkins—Road Trips at the Peripheries: Excursion Films by Andrew de Freitas and Ben Rivers

This presentation analyses two short films by Andrew de Freitas (NZ/Can) and Ben Rivers (UK) that are slow-paced ambient representations of transient places away from the tourist trail. Both realised in 2009, de Freitas’ Standing Wave and Rivers’ I Know Where I’m Going share a cinematic spirit that pictures wildernesses as lived places for alternative lifestyles while questioning our relationship to an exoticised use, and imaging, of specific landscapes.


Dilohana Lekamge, Deme Scott-McGregor, Selina Ershadi, Shannon Te Ao—Taking the weight

Three films examining inter-generational expectations and cultural inheritance in Aotearoa, followed by a discussion with the artists moderated by Shannon Te Ao:

One Job (2016)—Dilohana Lekamge
Returning home from a late night shift at work, the artist muses firstly on her surroundings and then on the migration of her parent’s generation from Sri Lanka to Aotearoa. It also touches on the pressures and inevitable failure when this high expectation to succeed in desired occupational fields is not met.

The Face of God (2019)—Deme Scott-McGregor
On a train trip from Palmerston North to Wellington, the artist reflects on family, memory and the role of physical photographs to preserve links to loved ones.

Hollywood Ave (2017)—Selina Ershadi
The artist's embodied camera quietly and reticently observes everyday rituals performed within her mother’s home, over which a disembodied voice reads fragments of a letter. These dimly lit domestic scenes are interrupted by the construction and demolition of an archway.


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