A poster by Peter Strausfeld for a 1966 screening of Alphaville and La Jetée.
• At Bandcamp Daily: “Caroline True obsesses over compilations so you don’t have to,” says Erick Bradshaw. I recommend CTR’s compilations.
• At The Wire: Read an extract from Music Stones: The Rediscovery Of Ringing Rock by Mike Adcock.
• At Colossal: Pastoral landscapes brim with patterns in luminous paintings by David Brian Smith.
One of the markers that sets Mamoru Oshii apart from his peers is his willingness to allow place to speak for itself. From the seasonality captured in his works, like the first two Patlabor films, to the otherworldly environments of Ghost In The Shell 2: Innocence (all projects in which Ogura was also involved heavily) and even the fantasy scapes of his Angel’s Egg, Oshii’s attention to place, and allowing it to be a player in the story, gives as much voice to world building, as he does to characterisation. This attentiveness and patience for place, allows us to settle deeply inside a worldview that is often simultaneously familiar but unerringly alien.
Lawrence English talks to art director Hiromasa Ogura and composer Kenji Kawai about their work on Oshii’s Ghost in the Shell
• At the BFI: Leigh Singer suggests where to begin with the films of Lucile Hadžihalilović.
• Necromodernist Architectures in Contemporary Writing: an essay by David Vichnar.
• New music: Hydrology by Loula York; Love Letters Via Echelon by Nerthus.
• There’s more Intermittent Eyeball Fodder at Unquiet Things.
• The Strange World of…Early Cabaret Voltaire.
• Winners of the Drone Photo Awards 2025.
• Drone Um Futurisma (1992) by Cusp | ABoneCroneDrone 1 (1996) by Sheila Chandra | Suspicious Drone (2009) by Demdike Stare
