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Skull Island Part III

Part III of this ongoing series of lecture/video works is structured around two artefacts found in the visual effects archive of Berlin’s Deutsche Kinemathek Museum of Film and Television.

A cast of the skull of the original armature for the stop-motion model of King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933) and a silicone mask constructed for Kevin Bacon’s computer-generated invisible character in Hollow Man (Paul Verhoeven, 2000) create a framework in which to discuss the surfaces and armatures or the skin and bones of moving images.

The lecture and subsequent film examine the inherent hidden material and socio-political properties of moving images such as financial transactions and synthesised physics in gaming, the perpetuation of ideological constructs in cinematic remakes or reboots, and traumas encapsulated in the sites and processes of moving image production.