Films in Volume 4:
DVD 1 (53 mins)
Incongruous (1984, 19 mins), Australian Bush (1986, 24 mins), Facades (1987, 9,30 mins)
DVD 2 (58 mins)
Faint Echoes (1988, 17 mins), Glitter (1990, 24 mins), Long Shadows (1991, 17 mins)
Paul Winkler (born 22 June 1939) is a German-born Australian filmmaker who lives and works in Sydney. He was associated with Corinne and Arthur Cantrill, Albie Thoms and David Perry in pioneering local experimental film production in the 1960s.
Winkler characterises his films as "a synthesis of intellect and emotion, filtered through the plastic material of film". "I try to let 'imagines' flow freely to the surface".
The ideas which he terms ‘imagines’ may reflect Australian icons like Bondi Beach, Ayers Rock/Uluru and the Sydney Harbour Bridge, or textures, as in Bark/Rind, Green Canopy, and the bush.
In 1973, Winkler's film Dark identified with the Aboriginal land rights movement, acquiring a spirituality which was also manifested in Chants and Red Church. Later films take contemporary society for their subject, as in Rotation, Time out for Sport and Long Shadows. His early apprenticeship is recalled in Brickwall, Backyard and Brick and Tile.
In 1995, the Museum of Contemporary Art and Sydney Intermedia Network mounted a retrospective screening of 30 of his films. The following year, the Carpenter Center for the Visual Arts, Harvard University, USA screened 30 films in a three-day retrospective. The Museum of Modern Art in New York, USA holds 15 of his films in their collection.
“Filmmaking has always been a journey into the unknown for me. Each new film demands its own trajectory. I might start with a particuliar idea and than after the first 100 feet of exposed film comes back, the imagines tell me which way to go or not to go. There is always a kind of pull between me and the material photographed, something opens up. If everything works out fine and the imagines connect to me and i can almost hear the sound they want, it is one hell of elation running through jour body and mind, unbelievable. To sum up:my approach to filmmaking is primarily an organic one. The films are a synthesis of the intellect and emotion all filtered through the plastic material of film. I try to let imagines flow freely to the surface." - Paul Winkler
Also available in a set Paul Winkler Experimental Film Collection 1964-2011