Directing

Nicky Hamlyn

Nicky Hamlyn studied fine arts at the University of Reading. He is a professor in experimental films and a filmmaker.

Known For

La DéfenseLa Défense · 2013
La Défense
2013
Movie
A video work by Nicky Hamlyn
Ghost StoriesGhost Stories · 1983
Ghost Stories
1983
Movie
Ghost stories opens with a sequence of polemical shots: a mysterious shadow, an ambiguous advertisement which has deeper ambiguities unknown even to itself, and a lengthy quotation from Roland Barthes on the nature of autobiography. These opening shots outline the context in which I hope the bulk of the film will be seen: as a critique on so-called visual literacy, which is frequently based on a complacent mis-reading of images, and also as a rejection of film-biography, whose efficacy depends on such visual complacency. The body of the film consists of fragmentary views of the interior of a house, in which desultory activity occasionally takes place, sometimes in front of the camera, sometimes not. A ghost story is told, firewood is sorted.
Power HubPower Hub · 2009
Power Hub
2009
Movie
Power Hub is a site-specific time lapse film shot over 24 hours in a disused bus factory in Maidstone, Kent, UK. The film was projected onto the window through which it was shot.
Object StudiesObject Studies · 2005
Object Studies
2005
Movie
A sequence of short films, each based on a dominant colour. Extensive use of time-lapse and frame by frame filming generates scintillating juxtapositions of light phenomena. Filmed in north west Umbria.
Berlin MoiréBerlin Moiré · 2013
Berlin Moiré
2013
Movie
A video work by Nicky Hamlyn
TellyTelly · 1995
Telly
1995
Movie
A study of the TV as the bearer of images and as a scuptural-environmental object. The footage is extracted from an episode of the TV soap Brookside.
Spinning ShadowSpinning Shadow · 2013
Spinning Shadow
2013
Movie
A video work by Nicky Hamlyn
FilmsFilms · 2013
Films
9.32013
Movie
A video work by Nicky Hamlyn

Filmography

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Ghost StoriesGhost Stories · 1983
Ghost Stories
1983
Movie
Ghost stories opens with a sequence of polemical shots: a mysterious shadow, an ambiguous advertisement which has deeper ambiguities unknown even to itself, and a lengthy quotation from Roland Barthes on the nature of autobiography. These opening shots outline the context in which I hope the bulk of the film will be seen: as a critique on so-called visual literacy, which is frequently based on a complacent mis-reading of images, and also as a rejection of film-biography, whose efficacy depends on such visual complacency. The body of the film consists of fragmentary views of the interior of a house, in which desultory activity occasionally takes place, sometimes in front of the camera, sometimes not. A ghost story is told, firewood is sorted.

Director