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Kayla Parker’s film On Location poses questions of radicalism both in terms of audio visual aesthetics and of filmmaking methodology in addition to more overtly political issues of environmental degradation, human and non-human relations and marginalised femininities. Acknowledging that her method of filmmaking is ‘predicated on there being no conscious aim either before or during the making process’, Parker reverse engineers an experimental approach to landscape filmmaking that synthesises phenomenology, écriture feminine, structural materialism and critical geography. The result is a beautiful depiction of the countryside hollow way visited by the British avant-garde filmmaker and performance artist, Annabel Nicolson, forty years previously; one that challenges conventional methods even within the ‘new materialist’ approach to landscape filmmaking.
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