Films byTexts by Rebecca Jane Arthur
Conversation NL EN

In the series ‘One Spectator Among Others’ Herman Asselberghs and Gerard-Jan Claes invite various passionate film lovers to elaborate on their viewing practice by email. Filmmakers, artists, critics, researchers, authors, programmers, cinemagoers, TV enthusiasts, Netflixers, YouTubers, torrent users... After the first instalment with Herman Asselberghs, we continue the series with Rebecca Jane Arthur, a Scottish visual artist, living in Brussels. She is co-founder of elephy, a production and distribution platform for film and media art based in Brussels.

Conversation NL EN

In ‘Een kijker onder de anderen’ laten Herman Asselberghs en Gerard-Jan Claes via e-mail allerlei gepassioneerde filmliefhebbers uitvoerig aan het woord over hun kijkpraktijk. Filmmakers, kunstenaars, critici, onderzoekers, auteurs, programmatoren, bioscoopbezoekers, tv-fanaten, netflixers, youtubers, torrentgebruikers,… Na de eerste aflevering met Herman Asselberghs zetten we de reeks voort met Rebecca Jane Arthur, een Schotse beeldend kunstenares die in Brussel woont. Naast haar artistieke praktijk werkt Arthur als producent, schrijver, copy-editor en vertaler. Ze is ook medeoprichter van elephy, een productie- en distributieplatform voor film- en mediakunst gevestigd in Brussel.

Rebecca Jane Arthur, 2020, 36’

Stemming from a personal account of a search for liberation set in the US during the early 70s, Liberty: an ephemeral statute reflects upon post-68 desires for emancipation, emigration, and education through an impressionistic memoir and portrait of the filmmaker’s mother back home in Sc

prisma EN

Ute Aurand and Maria Lang’s Butterfly in Winter (2006), an intimate portrait of mother and child, offers a temporary refuge from the state of “free fall”.

Article EN

In an interview with Jeremy Isaacs in 1993, Derek Jarman, wittingly nearing the end of his chromatic life, claimed that when he would be gone he’d like to evaporate and take his works with him: “to disappear completely.” During that interview Jarman describes his then soon to be final feature film Blue (1993) as a dedication to Yves Klein and a self-portrait of sorts. The film would be void of image and would draw its animation from a monologue performed by himself and others (Nigel Terry, John Quentin, and Tilda Swinton) on his life living with illness; and the screen would be illuminated as a rich and vibrating blue colour field – a proposal to which Isaacs cried out, “What on earth do you mean, ‘a blank blue film’?” 


When your voice appears on top of the images telling the viewer an anecdote that inspired the title of the film: how when in New York you listen to Palestinian hip-hop and when in Palestine you listen to the blues, you reveal your road trip’s soundtrack. By sharing this snippet of information, you set a tone for the film and the journey. It’s personal. With this letter, I’ve decided to lose the third person, avoid the banal (re)writing of a press release and allow this bid to speak nearby your work to be personal too.