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itemprop="url"><span itemprop="title">Feature Articles</span></a></div></div> <div id="cb-content" class="wrap clearfix"> <meta itemprop="datePublished" content="2024-11-11T10:34:03+11:00"> <meta itemprop="dateModified" content="2024-11-11T10:34:03+11:00"> <meta itemscope itemprop="mainEntityOfPage" itemtype="https://schema.org/WebPage" itemid="http://www.sensesofcinema.com/2024/feature-articles/digging-out-a-classic-albie-thoms-sunshine-city/"> <span class="cb-hide" itemscope itemprop="publisher" itemtype="https://schema.org/Organization"> <meta itemprop="name" content="Senses of Cinema"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> <span class="cb-hide" itemscope itemprop="logo" itemtype="https://schema.org/ImageObject"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> </span> </span> <span class="cb-hide" itemprop="author" itemscope itemtype="https://schema.org/Person"><meta itemprop="name" content="Dirk de Bruyn"></span> <meta itemprop="headline" content="Digging out a Classic: Albie Thoms’ Sunshine City"> <span class="cb-hide" itemscope itemtype="http://schema.org/ImageObject" itemprop="image" > <meta itemprop="url" content="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-lead.jpg"> <meta itemprop="width" content="1000"> <meta itemprop="height" content="533"> </span> <div id="main" class="cb-main clearfix issue-single-meta-container"> <article id="post-49156" class="clearfix post-49156 post type-post status-publish format-standard has-post-thumbnail category-feature-articles"> <header id="cb-standard-featured"><div class="cb-mask"><img width="750" height="400" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-lead-750x400.jpg" class="cb-fi-standard wp-post-image" alt="" loading="lazy" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-lead-750x400.jpg 750w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-lead-300x160.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-lead-768x409.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-lead.jpg 1000w" sizes="(max-width: 750px) 100vw, 750px" /><div class="cb-image-credit"><i class="fa fa-camera"></i><i>Albie Thoms</i></div></div><div id="cb-fis-wrap" class="cb-entry-header hentry cb-fis cb-style-standard"><span class="cb-title-fi"><h1 class="entry-title cb-entry-title cb-single-title" itemprop="headline">Digging out a Classic: Albie Thoms’ <i>Sunshine City</i></h1><div class="cb-byline cb-font-header"><div class="cb-author cb-byline-element vcard author"><i class="fa fa-user"></i> <a href="http://www.sensesofcinema.com/author/dirk-de-bruyn/" title="Posts by Dirk de Bruyn" class="author url fn" rel="author">Dirk de Bruyn</a></div> <div class="cb-date cb-byline-element"><i class="fa fa-clock-o"></i> <time class="updated" datetime="2024-11-11">November 2024</time></div> <div class="cb-category cb-byline-element"><i class="fa fa-folder-o"></i> <a href="http://www.sensesofcinema.com/category/feature-articles/" title="View all posts in Feature Articles">Feature Articles</a></div></div></div></header> <div class="cb-category cb-byline-element issue-single-meta"><i class="fa fa-folder-o"></i><a href="/issues/issue-111">Issue 111</a></div> <section class="cb-entry-content entry-content clearfix" itemprop="articleBody"> <blockquote><p><i><span style="font-weight: 400;">In Australia it has been impossible to elicit much sympathetic appraisal from critics who seem distressed by the relation of personal film to amateur home movies. Even those proselytising for the New Cinema have underrated the personal film as a worthy antidote to the mass market assumptions of Hollywood</span></i><span style="font-weight: 400;"> (Thoms, 1978 p. l46) </span></p></blockquote> <p><span style="font-weight: 400;">In February this year, the Artist Film Workshop (AFW) screened </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;"> (1973, 118 minutes) by Albie Thoms at the Brunswick Green microcinema as a 16mm film borrowed from the National Film and Sound Archive in Canberra. The audience consisted of mainly young locals and artists, all interested in and committed to analogue film production in some way. 50 years on, industrial film production has now moved into the digital. Conversely, as well as embracing the new, artists globally, like the AFW group, have also claimed abandoned analogue equipment to set up their own film processing labs and printing tools. Thoms’ generation had similarly taken up the use of redundant 16mm film cameras and editing machines in the ‘60s. </span></p> <p><span style="font-weight: 400;">Film Artist and AFW organiser, Paddy Hay included the following in his blurb on the film for this screening. This is what the audience came in with: </span></p> <blockquote><p><span style="font-weight: 400;">In equal parts a work of non-fiction, autobiography, and visual experimentation, the National Film & Sound Archive of Australia describes </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;"> as “a structured diary film which investigates the process of living in Sydney, which uses a repeating light modulation to intensify experiences of light, heat, colour”. Featuring interviews with local friends and acquaintances including Martin Sharp, Aggy Read, Brett Whiteley and Germaine Greer. </span></p> <p><span style="font-weight: 400;">Thoms: “SUNSHINE CITY will be a record of my responses to the people and places of the city of Sydney. It will show the visual environment and synthesize the sound environment. It will allow the people to speak and will try and relate their lives to the environment, to try and express the way the environment, the light, the sunshine, the visual stimulation, the cultural history of the city, conditions the lives of people and creates their character. It will be an analytic film, determining its own aesthetic, forcing attention to the filming process, to the materials of the film experience.” </span></p> <p><span style="font-weight: 400;">PLEASE NOTE! Photosensitive viewers are warned that this film contains intense </span><span style="font-weight: 400;">sequences of flicker and strobe lighting. </span></p></blockquote> <p><span style="font-weight: 400;">End of blurb.</span></p> <p><span style="font-weight: 400;">I had first seen </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;"> when in Sydney in 1973, 50 years ago. I was planning a trip to Bali and Asia and working as an oiler in the Redfern railway yards for finances at the time. It was my first encounter with Experimental Film. Living in a share house in George Street Redfern, the film was advertised in a local rag found at the Forest Lodge Hotel which our group frequented with an unlikely season at the Valhalla Cinema in Glebe Point Road. A group of us went to a midday screening to escape the heat. We were the only ones there. The intentional out of sync interviews, the film running out while the interview continued (also mischievously intentional) and listening to </span><i><span style="font-weight: 400;">Jumping Jack Flash</span></i><span style="font-weight: 400;"> while driving around a flickering Sydney left impressions that remain with me fifty years on. Its intermittent flickering was harsh. It was like the light and heat outside was seeping in through the cinema doors into my body, a perceptual experiment that caught me by surprise. I was enamoured with Godard’s New Wave period at the time (</span><i><span style="font-weight: 400;">Two or</span></i> <i><span style="font-weight: 400;">Three Things I Know About Her</span></i><span style="font-weight: 400;"> (1967), </span><i><span style="font-weight: 400;">Week-end</span></i><span style="font-weight: 400;"> (1967) and </span><i><span style="font-weight: 400;">Wind from the East</span></i><span style="font-weight: 400;"> (1970)) but Thoms took my senses one step further into the here and now. The Australian accent and its rhythms was part of my daily life. Thoms interviews performed the local Oz lingo and character I encountered in inner suburban backyards, then rental accommodation.</span> <span style="font-weight: 400;">I thought, I can do this and I can explore these effects. I did not go to Bali and bought a Beaulieu 16mm camera instead.</span></p> <div id="attachment_49157" style="width: 1424px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-1.jpg"><img aria-describedby="caption-attachment-49157" loading="lazy" class="wp-image-49157 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-1.jpg" alt="" width="1414" height="1024" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-1.jpg 1414w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-1-300x217.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-1-1024x742.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-1-768x556.jpg 768w" sizes="(max-width: 1414px) 100vw, 1414px" /></a><p id="caption-attachment-49157" class="wp-caption-text">Germaine Greer in <i>Sunshine City</i></p></div> <p><span style="font-weight: 400;">What I did not understand at the time was that I was witnessing the end of something. For Thoms this film signposted the aftermath of the screening of the impressionistic </span><i><span style="font-weight: 400;">Marinetti</span></i><span style="font-weight: 400;"> at Wintergardens in 1969. Notoriously half the audience left the screening, and a barrage of criticism hit the press. The Sydney Sun had called it ‘a tin-pot film about nothing’ (Shirley and Adams, 1985 p.226) and playfully renamed the film </span><i><span style="font-weight: 400;">Macaroni</span></i><span style="font-weight: 400;">. Thoms escaped from this situation by touring </span><i><span style="font-weight: 400;">Marinetti</span></i><span style="font-weight: 400;"> successfully internationally. ‘I realised that much of the Australian response to my film derived from ignorance.’ (Thoms, 1978 p.13) On his return he began </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;">, with a little help from his friends. He planned to montage Pink Floyd, Rotary Connection, Soft Machine, Beautiful Day, Frank Zappa and Steve Miller on the soundtrack (Thoms, 1972 p.57), all prominent members on my own pre-digital playlist. The film had formed as a fragment ideogram in the middle of the night in Oberhausen: (Thoms, 1972 p.48)</span></p> <blockquote><p><span style="font-weight: 400;">Sunshine City,<br /> </span><span style="font-weight: 400;">baby, do you know what I mean?<br /> </span><span style="font-weight: 400;">Sunshine City,<br /> </span><span style="font-weight: 400;">baby, that’s the place for me.<br /> </span><span style="font-weight: 400;">Sunshine City,<br /> </span><span style="font-weight: 400;">let it all hang out,<br /> </span><span style="font-weight: 400;">Sunshine City,<br /> </span><span style="font-weight: 400;">that’s what it’s all about.<br /> </span><span style="font-weight: 400;">Sunshine City,<br /> </span><span style="font-weight: 400;">baby, it’s just a scene,<br /> </span><span style="font-weight: 400;">Sunshine City,<br /> </span><span style="font-weight: 400;">baby, do you know what I mean?<br /> </span><span style="font-weight: 400;">(April 1970)</span></p></blockquote> <p><span style="font-weight: 400;">Thoms noted in an interview with Kriszta Doczy that his professional work dried up after this </span><i><span style="font-weight: 400;">Marinetti </span></i><span style="font-weight: 400;">event, which, for survival, shifted him further into documentary. This timing also interested me because it synced in with the emergence of the government establishment of the Experimental Film and Video Fund. Thoms’ Polemics for a New Cinema (1978) republished many of the international reports appearing in </span><i><span style="font-weight: 400;">Lumiere, Westerley, Planet, Lot’s Wife</span></i><span style="font-weight: 400;"> and so on, on Experimental film way before such works were available here. </span></p> <blockquote><p><span style="font-weight: 400;">‘Returning to Australia at the end of 1970, I found many people anxious for me to recount my adventures. Struggling to make my second feature, </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;">, I was often able to support myself with these polemics for a new cinema.’ (Thoms, 1978 p.13) </span></p></blockquote> <p><span style="font-weight: 400;">This may explain the use of the word ‘experimental’ for a cultural project that was really about something else. The Experimental Film and Video Fund was designed to assemble a mainstream Australian Film Culture from the ground up. There were multiple approaches to the definition of ‘experimental’ uncoupled from Thoms’ avant-garde film art use. “The word experimental should not be considered as totally descriptive when watching the work of new filmmakers. A film with raw acting talent could be considered as experimental as the one where the director has never looked through the lens before.” (Rosser, 1972 p.8)</span></p> <p><span style="font-weight: 400;">Peter Mudie’s meticulous and valuable book on Ubu Films </span><i><span style="font-weight: 400;">Sydney Underground Movies 1965-1970 </span></i><span style="font-weight: 400;">ends with </span><i><span style="font-weight: 400;">Marinetti</span></i><span style="font-weight: 400;"> and thus omits </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;">. Thoms own book, </span><i><span style="font-weight: 400;">My Generation</span></i><span style="font-weight: 400;">, published in 2012, (not long before his passing away in the same year) mentions the completion of his editing on </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;">, but documents none of its cultural life, presence or impact. What sort of full stop is this? What sort of gap has this feature fallen into? </span></p> <div id="attachment_49158" style="width: 1425px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-2.jpg"><img aria-describedby="caption-attachment-49158" loading="lazy" class="wp-image-49158 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-2.jpg" alt="" width="1415" height="1031" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-2.jpg 1415w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-2-300x219.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-2-1024x746.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-2-768x560.jpg 768w" sizes="(max-width: 1415px) 100vw, 1415px" /></a><p id="caption-attachment-49158" class="wp-caption-text">Demonstration in <i>Sunshine City</i></p></div> <p><span style="font-weight: 400;">The film was part of the premier season at the new premises of the Sydney Filmmakers Co-op, ‘The Filmmakers Cinema’ in 1973, for example, with Bert Deling’s </span><i><span style="font-weight: 400;">Dalmas,</span></i><span style="font-weight: 400;"> Nigel Buesst’s </span><i><span style="font-weight: 400;">Come out Fighting</span></i><span style="font-weight: 400;"> and Jim Sharman’s </span><i><span style="font-weight: 400;">Shirley Thompson Vs the Aliens</span></i><span style="font-weight: 400;">. (</span><i><span style="font-weight: 400;">Education</span></i><span style="font-weight: 400;">, 1973, p.13) Thoms was prominent enough in John Hughes and Tom Zubrycki’s documentary about the co-op movement focusing predominantly on the Sydney scene, </span><i><span style="font-weight: 400;">Senses of Cinema</span></i><span style="font-weight: 400;"> (2022). There is a section in there, about 5 minutes in, where Albie talks about a two-screen presentation of his abstracted hand-made film </span><i><span style="font-weight: 400;">Bluto</span></i><span style="font-weight: 400;"> (1967) next to Kit Guyatt’s Doco </span><i><span style="font-weight: 400;">Vietnam Report</span></i><span style="font-weight: 400;"> (1966): ‘and the two seemed to be in absolute synchronisation. The flickering colour was affecting the agitation of the protesters.’ (Thoms) </span></p> <p><span style="font-weight: 400;">Understandably, like Mudie’s opus, </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;"> is not cited in the Hughes/Zubrycki narrativization of the co-op movement foregrounding an emergent Feminism. Thoms’ description does link abstraction to a body-centred politics, a possibility dismissed by many documentary filmmakers via Peter Wollen’s Two Avant Garde’s (1975) but present in </span><i><span style="font-weight: 400;">Sunshine City </span></i><span style="font-weight: 400;">in his use of the flicker seeping through the Sydney landscapes, linking the sync sound interviews. Wollen’s ‘two avant-gardes’ are resident side by side in </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;">.</span></p> <p><span style="font-weight: 400;">Wollen’s first avant-garde comprises non-narrative and formalist (materialist) work residing in the multi-voices and collective emphasis of the artisanal “co-op movement” emerging out of the fine arts (painting, sculpture) and the second embodied a more politicised narrative practice employing psycho-analytic and Marxist ideologies in its analysis, with a relation to literary criticism, theatre and the margins of commercial cinema. </span></p> <p><span style="font-weight: 400;">For Wollen, that abstracted avant-garde expressed through Thoms’ flickering landscapes, was dismissed as utopian and a-political: “It is as if they felt that once the signifier was freed from bondage to the signified, it was certain to celebrate by doing away with the old master altogether in a fit of irresponsible ultra-leftism and utopianism. (Wollen 1982: 99). This position was productively reinforced by his then partner Laura Mulvey’s view that ‘Feminism is bound to its politics, its experimentation cannot exclude work on content.’ (Mulvey, 1978 p. 9) Thoms’ embrace of this discounted avant-garde arm was about filmmakers ‘exposing their own inner lives, with their anguishes and excitements.’ (Thoms, 1978 p. 254) This move is still understandable as a partial alignment with Feminism’s “the personal is political” mantra.</span></p> <p><span style="font-weight: 400;">One avant-garde focuses on vision, perceptual processes and the image and the other emphasises the text’s and language’s social implications. Wollen identifies Jean-Luc Godard’s work as the contemporary exemplar of the avant-garde’s political arm, in which he also situates his own collaborations with Mulvey. </span></p> <p><span style="font-weight: 400;">Under the title of ‘Why My Eyes Throbbed in Painful Protest’, Matt White’s review of the 1973 Bonython Gallery </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;"> launch extended the views of the walk out audience of the </span><i><span style="font-weight: 400;">Marinetti</span></i><span style="font-weight: 400;"> Wintergardens screening. ‘When that person cops $6000 from the Government’s Experimental TV and Film Fund, to inflict what I consider badly filmed trash on unsuspecting audiences, fury mounts within me.’ (White, 1973) Alternatively, Don Anderson, who had been critical of </span><i><span style="font-weight: 400;">Marinetti</span></i><span style="font-weight: 400;">, lauds Thoms for capturing Sydney’s light and light-heartedly describes his need to wear sunglasses during the screening. “I wish to assert that “Sunshine City” is the most exciting Australian film I have seen since I started looking at them in the mid 1960s. It is the most truly, and most valuably, “personal” film I have seen since Godard’s “Sympathy for the Devil.” (Anderson, 1973 p.86)</span></p> <div id="attachment_49159" style="width: 1419px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-3.jpg"><img aria-describedby="caption-attachment-49159" loading="lazy" class="wp-image-49159 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-3.jpg" alt="" width="1409" height="1028" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-3.jpg 1409w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-3-300x219.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-3-1024x747.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-3-768x560.jpg 768w" sizes="(max-width: 1409px) 100vw, 1409px" /></a><p id="caption-attachment-49159" class="wp-caption-text">Brett Whiteley in <i>Sunshine City</i></p></div> <p><span style="font-weight: 400;">As with his earlier </span><i><span style="font-weight: 400;">Marinetti</span></i><span style="font-weight: 400;"> overseas getaway, Thoms retraced his international steps with </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;">. In the Grant-In-Aid Report (Thoms, 1973) on this trip he noted successful screenings in Cologne (p.3), Stuttgart and Berlin (p.6), the London Filmmakers Co-op (p.13) and two screenings at Anthology Film Archives in New York. (p.16) In London John Du Cane noted: “As Albie Thoms commented, the film is like a long hot day in the sun: the serious seems to vaporise out in the headlines of the good life. Nice Watching.”</span></p> <p><span style="font-weight: 400;">The film’s ambivalent reception in Australia compared to its international profile and Wollen’s Two Avant-garde move three years later, discounting the abstracted and structural elements in the film, all contribute to its current invisibility. What is the value of revisiting this work now? </span></p> <p><span style="font-weight: 400;">Perceptual habits and skills have generationally shifted since 1973. The sonic mobility of the transistor radio of Thoms’ 60s has shifted into the I-phone’s mobile visual forms. A contemporary eye may be more easily bored but surplus internet grazing’s perceptual training has enabled the contemporary eye to efficiently unpack complex imagery’s meanings. We can now enact Thoms’ two immersive overseas sojourns online as a superficial graze. Vilem Flusser’s (2011) theorising on the ‘Technical Image’ pronounces Dziga Vertov’s </span><i><span style="font-weight: 400;">Kino Eye</span></i><span style="font-weight: 400;"> as the new norm. In “Knights Moves” (de Bruyn, 2015) I argued for Wollen’s split as servicing a historic Feminist moment that has passed with the emergence of digital technologies. That the two avant-gardes mesh is traceable through film work of Maya Deren, James Benning, Martin Arnold, Peter Tscherkassky and Mike Hoolboom, Ben Russell and Ben Rivers. Rivers and Russell particularly continue to produce their work in analogue form and Rivers also showcases it as celluloid film. Within the digital’s malleability and accessibility, the personal visual diary has expanded and mutated its forms. The documentary form now incorporates animated truth-telling narratives. Personal/political amalgams proliferate, some integrated into the algorithms shaping our consumer habits, shaping our personal content.</span></p> <p><span style="font-weight: 400;">So how did the AFW screening go down? The discussion afterwards was lively. Why had this film been so difficult to access given the availability of Thoms’ other work? When Thoms prompts and interacts with his subjects, there was a familiarity and intimacy noted by the audience not masked by any veil of political correctness. The flawed personalities had an honesty and openness that defied some of the racist and sexist undertones voiced and common at the time. These flaws did not trigger any form of cancel culture in the audience response. There was no need to unpack any double-speak that contemporary identities are cloaked up in through social media. Greer referring to Thoms as ‘mate’ being a simple trace of such lost honesty. The flicker permeating the landscape, dissipated its visceral impact over time (for those of us with no epileptic vulnerability). You got used to it. It was as if you were being perceptually trained to a new normalcy. Unpacking the technical “aberrations” was an engaging exercise rather than an irritant, adding narrative depth and historic knowledge about how Australian identity has evolved. The film was received as an authentic historic artifact of our own culture addressing our current everyday lives with political force.</span></p> <p><span style="font-weight: 400;">In the generational shift from written textual analysis to its visual performance in the Deren to Rivers line of artists mentioned above, we shift from one way of thinking to another (Flusser, 2011). Even with the compacted times we negotiate, we can now all sit in front of the editing machine, the video download, the streaming app or a digital editing program thinking critically, thinking visually, creatively performing. This space and its ‘thinking’ is implicitly imposed on us by every mobile device, every active computer screen at our fingertips, inserted into public space and everyday life. </span><i><span style="font-weight: 400;">Sunshine City</span></i><span style="font-weight: 400;"> can be productively viewed through this shift. This evolved approach, evident in the audience analysing the film, is also present in the creative approach to the redundant technologies available to and manipulated by some AFW members. </span></p> <div id="attachment_49160" style="width: 1415px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-4.jpg"><img aria-describedby="caption-attachment-49160" loading="lazy" class="wp-image-49160 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-4.jpg" alt="" width="1405" height="1028" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-4.jpg 1405w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-4-300x220.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-4-1024x749.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-4-768x562.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Sunshine-4-80x60.jpg 80w" sizes="(max-width: 1405px) 100vw, 1405px" /></a><p id="caption-attachment-49160" class="wp-caption-text">Aggy Read in <i>Sunshine City</i></p></div> <p><span style="font-weight: 400;">In future decades, such technological shifts will once again unwittingly force us to re-balance our sensory cluster, to re-think the way we think once again and to re-use the discarded in politically productive ways. What one generation of cultural power brokers dismisses as irresponsible tin-pot trash is unerringly recycled creatively by the next. When screening my work at a New York microcinema recently I was asked if I knew of another Australian filmmaker, Albie Thoms, who they deeply admired. I was glad to be able to recount my Valhalla Cinema story, that his work had fatefully triggered my own journey into personal film.</span></p> <h3><b>References:</b></h3> <ul> <li><span style="font-weight: 400;">Anderson, Don (1973) ‘Light on Sunshine City’ </span><i><span style="font-weight: 400;">Bulletin</span></i><span style="font-weight: 400;"> March 31, 1973. p. 86.</span></li> <li><span style="font-weight: 400;">de Bruyn, Dirk (2015) ‘Knights Moves’ </span><i><span style="font-weight: 400;">Found Footage Magazine</span></i><span style="font-weight: 400;"> #1 October 2015.</span></li> <li><span style="font-weight: 400;">Flusser, Vilém. 2011. </span><i><span style="font-weight: 400;">Into the Universe of Technical Images</span></i><span style="font-weight: 400;">, University of Minnesota Press, Minneapolis.</span></li> <li><span style="font-weight: 400;">Mudie, Peter (1997) </span><i><span style="font-weight: 400;">Ubu Films</span></i><span style="font-weight: 400;">: </span><i><span style="font-weight: 400;">Sydney underground movies 1965-1970</span></i><span style="font-weight: 400;">. UNSW Press</span></li> <li><span style="font-weight: 400;">Mulvey, Laura (1979), ‘Feminism, Film and the Avant-garde’, </span><i><span style="font-weight: 400;">Framework</span></i><span style="font-weight: 400;">, vol. 10, no. Spring, pp. 3-10.</span></li> <li><span style="font-weight: 400;">Rosser, Edward (1972) ‘Looking for Talent” </span><i><span style="font-weight: 400;">Lumiere.</span></i><span style="font-weight: 400;"> No. 15. p.8 Melbourne.</span></li> <li><span style="font-weight: 400;">Shirley, G., and Adams, B. (1985) Australian Cinema: The First Eighty Years, Sydney: Angus and Robertson and Currency Press.</span></li> <li><span style="font-weight: 400;">Thoms, Albie (1972), ‘From Sunshine City Logbook (1970-72)’ Westerly No 3. September 48-54 Perth.</span></li> <li><span style="font-weight: 400;">Thoms, Albie (1973), Report on Grant-in-Aid trip to Europe and US April-September </span><i><span style="font-weight: 400;">AFTS</span></i><span style="font-weight: 400;">. Sydney</span></li> <li><span style="font-weight: 400;">Thoms, Albie (1978) Polemics for a New Cinema. Wild and Woolley. Sydney</span></li> <li><span style="font-weight: 400;">Thoms, Albie. (2012) My Generation. Media 21 Publishing Pty Ltd. Sydney.</span></li> <li><span style="font-weight: 400;">Unknown (1973) ‘New Cinema Opens’, </span><i><span style="font-weight: 400;">Education: Journal of the N.S.W. Public School Teachers Federation</span></i><span style="font-weight: 400;">. 54 (10), p. 13.</span></li> <li><span style="font-weight: 400;">White, Matt. (1973) ‘Why My Eyes Throbbed in Painful Protest’ </span><i><span style="font-weight: 400;">TV Mirror</span></i><span style="font-weight: 400;">. Sydney</span></li> <li><span style="font-weight: 400;">Wollen, Peter (1982) [1975], ‘The Two Avant-Gardes’, in </span><i><span style="font-weight: 400;">Readings and Writings: Semiotic Counter-Strategies</span></i><span style="font-weight: 400;">, Verso, London, pp. 92-104.</span></li> </ul> </section>  <footer class="article-footer"> <div class="cb-social-sharing cb-post-footer-block cb-beside cb-social-box clearfix"><div class="cb-title-subtle">Share On:</div><div id="fb-root"></div> <script>(function(d, s, id) {var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.0"; fjs.parentNode.insertBefore(js, fjs); }(document, "script", "facebook-jssdk"));</script><div class="cb-facebook"><div class="fb-like" data-href="http://www.sensesofcinema.com/2024/feature-articles/digging-out-a-classic-albie-thoms-sunshine-city/" data-layout="box_count" data-action="like" data-show-faces="false" data-share="false"></div></div><div class="cb-pinterest"><script type="text/javascript" src="//assets.pinterest.com/js/pinit.js" async></script> <a href="//pinterest.com/pin/create/button/?url=http%3A%2F%2Fwww.sensesofcinema.com%2F2024%2Ffeature-articles%2Fdigging-out-a-classic-albie-thoms-sunshine-city%2F&media=http%3A%2F%2Fwww.sensesofcinema.com%2Fwp-content%2Fuploads%2F2024%2F10%2FSunshine-lead.jpg&description=Digging+out+a+Classic%3A+Albie+Thoms%E2%80%99+%3Ci%3ESunshine+City%3C%2Fi%3E" data-pin-do="buttonPin" data-pin-config="above" target="_blank"><img src="//assets.pinterest.com/images/pidgets/pin_it_button.png" /></a></div><div class="cb-google cb-tall"> <div class="g-plusone" data-size="tall"></div> <script type="text/javascript"> (function() { var po = document.createElement("script"); po.type = "text/javascript"; po.async = true; po.src = "https://apis.google.com/js/plusone.js"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(po, s); })(); </script></div><div class="cb-twitter"><a href="https://twitter.com/share" class="twitter-share-button" data-dnt="true" data-count="vertical">Tweet</a><script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+'://platform.twitter.com/widgets.js';fjs.parentNode.insertBefore(js,fjs);}}(document, 'script', 'twitter-wjs');</script></div><su:badge layout="5"></su:badge> <script type="text/javascript"> (function() { var li = document.createElement("script"); li.type = "text/javascript"; li.async = true; li.src = ("https:" == document.location.protocol ? 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Miyazaki’s Critique of Japanese Imperialism and Dialectic with Takahata in <i>The Boy and the Heron</i></a></div><div id="cb-next-link"><a href="http://www.sensesofcinema.com/2024/festival-reports/29th-busan-international-film-festival-ocean-of-cinema/"><i class="fa fa-long-arrow-right"></i></a><a href="http://www.sensesofcinema.com/2024/festival-reports/29th-busan-international-film-festival-ocean-of-cinema/" rel="next">29th Busan International Film Festival: Ocean of Cinema</a></div></div><div id="cb-author-box" class="clearfix"><h3 class="cb-block-title">About The Author</h3><div class="cb-mask"><a href="http://www.sensesofcinema.com/author/dirk-de-bruyn/"></a></div><div class="cb-meta"><div class="cb-info"><div class="cb-author-title"><a href="http://www.sensesofcinema.com/author/dirk-de-bruyn/"><span>Dirk de Bruyn</span></a></div></div><p class="cb-author-bio">Dirk de Bruyn has been practicing, writing and curating in the area of experimental film and animation for over 35 years. He is currently teaching Animation and Digital Culture at <a href="http://deakin.academia.edu/DirkdeBruyn"> Deakin University</a> in Melbourne, Victoria (Burwood Campus).</p></div></div><div id="cb-related-posts" class="cb-related-posts-block cb-post-end-block clearfix"><h3 class="cb-block-title">Related Posts</h3><ul> <li class="cb-style-overlay cb-grid-entry cb-related-post no-1"> <div class="cb-mask" style="background-color:#148FFF;"><a href="http://www.sensesofcinema.com/2021/feature-articles/too-soon-too-late-the-temporality-of-ecological-grief-in-cinema/"><img width="360" height="240" src="http://www.sensesofcinema.com/wp-content/uploads/2021/07/Lead-Image-360x240.png" class="attachment-cb-360-240 size-cb-360-240 wp-post-image" alt="" loading="lazy" srcset="http://www.sensesofcinema.com/wp-content/uploads/2021/07/Lead-Image-360x240.png 360w, http://www.sensesofcinema.com/wp-content/uploads/2021/07/Lead-Image-600x400.png 600w" sizes="(max-width: 360px) 100vw, 360px" /></a></div> 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