Showing posts from December, 2017


Afterwords from B4 films on Vimeo.
The connection between science fiction and (eerie) landscape is one that my colleague Bruce Bennett and I were keen to investigate when we were making Afterwords, a short film about a young woman traversing an empty, post-peak oil landscape. In particular, we use both visible signs of human presence in landscape, connected with energy infrastructure and networks: wind farms, pylons, power stations. The soundtrack we composed refers directly to modes of music identified with an electric modernity: Kraftwerk (another ‘power station’), analogue synths, glitches, electric white noise and hum. It’s not the kind of electronic distillation of the sound of folk horror and hauntology identified by Simon Reynolds and Mark Fisher in the work of The Advisory Circle, The Focus Group and Belbury Poly, all on the Ghost Box label. Belbury Poly’s name, of course, refers to CS Lewis’s That Hideous Strength, a novel at the science fantasy/ planetary romance end of the …