
A film by
Rosalind Nashashibi
with Pauline Nashashibi
and Members of the crew
Director of Photography Suzie Lavelle
1st Assistant Director Jerome Franc
2nd Assistant Director Matt Randle
1st Assistant Camera Xavi Amoros
2nd Assistant Camera David Rafei
Camera Trainee Angel Vandenakker
Grip Anthony Benjamin
Grip Luke Franklin
Gaffer Shaun Mone
Electrician Ricky Collins
Electrician Tom Guy
Generator Operator Luis Santos
Sound Recordist Chris Sheedy
Stills Will Martin
Driver Josh Topp
Driver Jeni Baines
Production Assistant David Weider
Production Assistant Jonathan Clark
Sound design Doug Haywood
Editors Rosalind Nashashibi
Lucy Harris
Cameras Arri Media
Ice Film
Lights Panalux
Labatory Soho Film Lab
Many thanks to:
Romano Pena Samboy, Peter Bryant, Emma Dalesman, Emma Davie
Eddie Dias, Sally Inman, Dick Knapman, Isla Leaver-Yap, Pablo Leon de la Barra, Francesco Manacorda, Pauline Nashashibi, Deirdre O Toole, Steve Saltwell, Lucy Skaer, Mark Sladen, Len Thornton, David Waddington
Producer Tom Dingle
For the Paulines
A commission by Institute of Contemporary Arts, London and Bergen Kunsthall
with support from the Henry Moore Foundation
(Logos: Arri media, Kodak, Panalux, Ice Film)
© Rosalind Nashashibi 2009
|
JACK STRAW'S CASTLE
Rosalind Nashashibi
2009
16mm film with sound
Jack Straw's Castle, has been specially commissioned by the ICA and Bergen Kunsthall. Using footage shot in and around a public park in London, Nashashibi interlaces shots from real life-including sequences shot in a cruising area - with staged scenarios involving a cast of non-actors. The real life sequences are mainly from the daytime, whereas the dramatised elements take place at night.
The key protagonist in the staged sequences is played by the artist's mother, Pauline Nashashibi. Walking through the park at dusk, she is brought into a clearing in the woods occupied by a film crew, becoming an observer of - and participant in - their transformation of the forest into a highly artificial site.
Jack Straw's Castle articulates the dream space of cinema, in which camera and desire conspire to bring about a metamorphosis. As Nashashibi has said about her filmic work, "The shoot is the magical part; it is a performance and a ritual during which i am attempting to connect with where i am and with what happens... an extra dimension that goes beyond recording truth happens through filming. The camera is a magical instrument rather than a truth-recording device."
|