9.01 The Interviews

We need to be able to see what kind of people brought Exploding Cinema into being and committed seven or eight unpaid years of their lives to maintaining it. As we shall see the historical precedents ascribed to the Exploding Cinema can be evidenced as part of the formative experiences of key members of the collective. These stories vividly illustrate historical influences that are otherwise academic. Whether in Jenet's description of a family slide show or Colette's accounting of going to drive-in cinemas in Cape Town.

This set of interviews records the Exploding Cinema collective at one point in its history after I had joined it. It does put an emphasis on the core members at a particular time and of course this is only a partial representation. This problem of reduction is integral to all historicisation but is particularly problematic with the large open collectives or networks in which I am interested. It can only be justified by the argument that a partial view is better than none and that this is just the beginning of a process which others can add to.

(See illustrations 7, 8 & 9 for photo portraits)

7.      Top: Colette, Thomas & Duncan in a meeting

        Bottom: Paul & Jenet

 

8.       Top: Caroline

         Bottom: Duncan

 

9.       Top: Caroline, with Grace from My Eyes! My Eyes!

         Bottom: Clive, My Eyes! My Eyes! with Colette

In spite of their higher education and being, to some small degree, a part of the 'expert' film world, I hope the interviews show how much of the core members formative experience was of popular and oral cultural forms. [1]

I will now discuss the content of the interviews. An examination of the content brought an unexpected viewpoint to the surface. Firstly, it was notable that the group was in fact very multicultural having a wide range of ethnic backgrounds. Secondly, in relation to the oral nature of the Exploding discourses, it was interesting to note each person's educational and class backgrounds. Thirdly, their cultural influences often seemed to relate to aspects of the Exploding Cinema format and echo the provenances discussed earlier in this thesis to a remarkable degree.

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[1] The full transcripts of the interviews are presented as one of the items in the archive, which will accompany the presentation of this thesis.