Corinne Cantrill's 'In This Life's Body' - A Personal Experience

Nash, M

Corinne Cantrill's 'In This Life's Body' - A Personal Experience

Nash, M

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Publication Type:: Journal Article
Citation:: Senses of Cinema, 2021, (99)
Issue Date:: 2021-07

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	Corinne Cantrill’s In this Life’s Body – A Personal Experience – Senses of Cinema.pdf	Published version	6.31 MB	Adobe PDF	View/Open

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Field	Value	Language
dc.contributor.author	Nash, M https://orcid.org/0000-0003-4814-345X
dc.date.accessioned	2022-09-15T04:00:57Z
dc.date.available	2022-09-15T04:00:57Z
dc.date.issued	2021-07
dc.identifier.citation	Senses of Cinema, 2021, (99)
dc.identifier.issn	1443-4059
dc.identifier.uri	http://hdl.handle.net/10453/161833
dc.description.abstract	I first saw Corinne Cantrill’s feature-length essay documentary In This Life’s Body in the old Valhalla Cinema in the Sydney suburb of Glebe. It must have been around 1985 and Corinne and her husband, Arthur, had come up from Melbourne for the screening. The Cantrills’ avant-garde film work was well known amongst cinephiles both internationally and nationally, and many of us from the Sydney Filmmakers Co-op were keen to see it. The opening sequence – a silent slow-motion series of black-and-white negative images – shimmering reflections in water and a glimpse of a nude woman on the edge of a rock pool then a landscape gradually revealed a middle-aged nude woman (Corinne) lying on her back, her body almost indistinguishable from the contours of the land she was lying on. Corinne’s voice-over began and, from the darkened cinema, she stepped in front of the screen and began to do Tai Chi. Her body silhouetted in front of the moving image, her movements in tune with the rhythm of the unfolding film. I had never seen anyone perform live with a film before. I was mesmerised.
dc.language	en
dc.relation.ispartof	Senses of Cinema
dc.rights	info:eu-repo/semantics/closedAccess
dc.subject	1902 Film, Television and Digital Media
dc.title	Corinne Cantrill's 'In This Life's Body' - A Personal Experience
dc.type	Journal Article
utslib.for	1902 Film, Television and Digital Media
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/School of Communication
utslib.copyright.status	closed_access	*
pubs.consider-herdc	false
dc.date.updated	2022-09-15T04:00:53Z
pubs.issue	99
pubs.publication-status	Published online
utslib.citation.issue	99

Abstract:

I first saw Corinne Cantrill’s feature-length essay documentary In This Life’s Body in the old Valhalla Cinema in the Sydney suburb of Glebe. It must have been around 1985 and Corinne and her husband, Arthur, had come up from Melbourne for the screening. The Cantrills’ avant-garde film work was well known amongst cinephiles both internationally and nationally, and many of us from the Sydney Filmmakers Co-op were keen to see it. The opening sequence – a silent slow-motion series of black-and-white negative images – shimmering reflections in water and a glimpse of a nude woman on the edge of a rock pool then a landscape gradually revealed a middle-aged nude woman (Corinne) lying on her back, her body almost indistinguishable from the contours of the land she was lying on. Corinne’s voice-over began and, from the darkened cinema, she stepped in front of the screen and began to do Tai Chi. Her body silhouetted in front of the moving image, her movements in tune with the rhythm of the unfolding film. I had never seen anyone perform live with a film before. I was mesmerised.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/161833