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Audiovisual Cultures episode 51 – Roaming Privileges with Dr Simon Ward automated transcript


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hello and thank you for tuning in to another episode of audio-visual cultures I’m the host and creator Paula Blair and I’m delighted to be joined by dr. Simon Ward’s associate professor in the school of modern languages and cultures at University of Durham we caught up at Newcastle Tyneside cinema over a screening of Christian pets old’s adaptation of transit about a German man fleeing a fascist regime spreading from Germany to France and while trying to get transit papers and Marseille he falls in love with the widow of the writer whose identity he assumes huge thanks to members on patreon.com forward slash a V cultures unto everyone listening sharing and engaging on social media I have more details for how you can get in touch and support at the end do you enjoy this spoiler if ik discussion with Simon so obviously all you’ve never seen a film before whereas I taught one or two of them for many years now I’m much more attuned to the kind of style the kind of the manner the kind of cinematic references that are going on there that someone would a relative knowledge of German film will pick up I mean they’re pretty iconic images but I suppose what we were just saying there was Petzl starts writing about contemporary or making films but he writes he’s an outer in the old tradition really in many ways he starts making films about contemporary Germany and shift from traditional social structures to a more fluid and investigating those structures and there’s a fantastic moment right at the end of the film there so these are spoiler alerts although if he can read German the spoil is there at the very start of the film when we’re dramatically focusing on the fact that the ship has gone down the shot is actually piloted is of the man there doing the labor of loading up the band who is clearly a not from Marseilles clearly an immigrant or illegal or some kinds of work he said we operating in that system and that’s very petal and petal learn that from Shiraki the focus is on labor focus on the world of labor and that’s what we’ve got to have in your image your image has to always try and do justice to the fact that there is labor in course here so the image is country even though we’re being carried along by the melodramatic I kind of focus on the fact that the boats gone down how lucky unlucky etcetera for everyone this whole situation that’s a very very pets all bein rocky is her rocky moment it’s something he’s that’s where he kind of learned it from but I suppose why I was trying to say and I’m rambling here was that he moves from contemporary Germany in the last few films to historical material so the previous when Phoenix was about a Holocaust survivor and so returns to that very typical German material and this is obviously very historical as well but then completely played with your mind by setting a film or a book a novel is set in 1940 then seems to be playing out in the present no it’s really weird the clothing is sometimes four thirties forties certainly the central character seems to be operating in that kind of dress code no mobile phones obviously right but obviously the leash stateless operating again petals so aware of the images yeah that we are contemporarily confronted with and what he’s doing is there’s probably a lot of Brecht in here as well yeah it’s a lot of Fassbender there’s a scene where they’re in the castle there’s any number of romantic Superbird I think I can we’ve seen it is there’s only ten minutes to come but there’s a scene where the two of them at a Congress but it’s a male female too and just behind you’re a sailor and a woman who are gauging in their just kissing as it weren’t it there’s a lovely scene in problems marriage of Maria Brown which again is right at the core of this if you think about Maria’s obsession with her husband although that’s already in the novel it’s also the core of web presence in anyway that kind of thing classes are love we’ve seen it where I think it’s a memory of maybe some rest of what so much mass business where there’s kind of like sexual congress going on in the background really disrupting what you’re supposed to be focusing on so yeah there’s lots of that so Toni sort of fifty minutes I found now quite intense it’s really intense because I mean we were sitting right to the front so you’re there’s no one between you and the images as it were I just think at this point today and it’s just funny when you have people on the film saying in two week it’s gonna be chaos here and they obviously mean that social cohesion is about to break down and it’s already broken down in so many ways is lack of trust between the French and the Germans who are passing through and what’s actually filmed in 2017 so where it’s kind of it’s not I don’t think I mean it must have because it’s fascinating hearing conversations with God and Europe in these countries and we’re in the middle of it and it feels very similar it just felt like a bearer like right in the top in a transitional space yeah we can watch the street the alleyway

there’s a lot of that in them and so much normality obviously one of the things I said before that I’m obsessed with this away pet uses cars

yes absolutely I mean obviously people seem to be conducting a kind of semi visible but it feels very much like we’re watching this absolutely small but

probably nobody sorry but you’re absolutely right I mean Jeremy the we can’t call it that there are certain phrases in German you can’t use like the Jewish Question that already alluded to the fact that there is a question of so in Germany don’t open Lewis question cuz that’s a racist framing and also in Germany there is a debate about immigration that again that’s also romantic way of describing it and Petzl is also looking into intervene that because there is a typical populist agitation against immigrant populations in Germany manner which has been there were problems around unification there has always been about others we know that it’s very much today there are so many shares so it’s 1930s Germany so it’s circulating everywhere yeah okay one of the things I would say in why it’s not in pencils defense but you know there is no hero here I’ve read the novel but I can’t remember the novels that well what’s happening obviously in the Pillman you’ve got this voice coming in which seems to be a novel authority so in a sense it’s a story foretold in descendants you what you’re right it’s too it could be described as too intelligent too clever for its own good this is this what we worry about now I think to be fair what Petzl tries to Tony does this in all his films is construct plots which will draw us in and supposed to work on a property but again is it too clever it’s a bit like Fassbender who will use melodramatic plots as a kind of structuring device to draw you in the deeper politics but again is that and that’s why I wonder whether pets are everything stuck actually in his admiration for new German cinema and for the kind of hopes for what you might hope film to do there’s too much expectations in its weight placed on the capacity of film to generate the cars but I thought we all at the end Harbor that’s right that very much reflects at where this is happening right but also because the to do is to look somewhere between and that’s why there’s a lot of language in here and that again brings back to then there’s a brings about new German cinema which was obsessive like no sorry I’m being a big unless you matter so he German speaking French to the boy the boys transmitting and to the German yeah it seems to have a German yes and then so the boy is

for anyone listening to this you have to go watch Alice in the cities by them vendors where the boys eating the ice cream outside the cafe there is a sequence that is absolutely in other cities which one of my favorite films which is a film about an older man with the younger child traveling lost in Europe but again that comes in the mid seventies and so this historically place is actually closer to 1914 vendors filming 274 is almost important medicines fill mr. vendors fill and it’s important because it’s night actually integral to the refugee crisis that’s been ongoing for several years mine all over Europe and yeah they’re becoming highly skilled you see Molly’s radiatively new stories about kids a common English is maybe their third or fourth language and then there Kelly yeah if their exams are absolutely just yeah well you don’t need to talk to me about the benefits of learning a foreign language again that is so invisible that is generally presented in the I’m not gonna use the word mainstream media but essentially the conventional perspective is this is a problem that we have children using this is not the first language in our schools and yet we have no teaching them and it’s happening invisibly really and I think think that’s one of the things trying to make certain things visible that won’t or was particularly visible and animal and this is where he’s coming from the kind of particular for rocking yes for Rocky is critique lifted conventional media images that we get on a daily basis to your face it gets interesting as well is that it’s a reminder that white people are also considered to be refugees or have been at some point yes or no I’ve learned not just from people but we today and 2019 consider refugees I mean Brian

personally always been the case white people are also krills or they’re white people one of the things that’s very much belongs to novel in the period is you have middle class Jews being displaced and are being you know so you have the one with dogs and the doctor both of whom come from middle class backgrounds I’m not Syria today because people here exactly they have been yeah they are intelligent they are educated they have a lot of skills and abilities and again the perspective we have is very simplistic and it’s just an important reminder that actually it knows no color there’s discrimination of so many different counties and I’ll show you if you’re a refugee if you find yourself is a refugee Piper you managed to get kind of depend want your economic background maybe well this doctor has 5000 in the film the doctor has 5000 whatever suggests we didn’t mix in the currency no they just said it because of course my reviews are going to change because I’m weird the swords and there were certain sequences they were reminding me I wouldn’t be surprised it’s a long time you know when

know to be honest I think we’ll pet salts much more Cindy literate Malaya and you can pretty much take for granted that if he is Chris Marker in to play keyboards but that’s also our problem isn’t it with these directors who know so much and I’ve watched as much sitting there a lot much more tuned by the way out is it becoming fact that yeah I mean I’ve already I’ve already guilty of it already but I would make an argument for the lilius they’re bringing borders of these places up and I think they place themselves in that lineage of experimental filmmaker and that’s what’s interesting about pencil that’s what makes Paula’s films really interesting as they are generically satisfying we’ve got a melodrama you’ve got a story you can enjoy it for the two hours but this food for thought I suppose it’s that idea you know because I’m going in and I know basically nothing about the Somme you know where as you’re very familiar with and there were times when I was questioning no exactly it was the zombie riffle yeah I thought that was a reference its own of the day yeah exactly and it was very I think it was something that you could imagine somebody in the fifties or 40 just saying oh wait 20 in that world I think we can’t know is trying to fight consistency and I think that’s quite a little room there is that mixture of tiny levels so come back tomorrow time is kind of the logic of history that there’s some kind of progress and that we move forward and we leave stuff buying we’re actually dealing with the traces of a horse in Europe here and so the way which are present every port city you go to they are there what were you saying you were so at the anachronism this is then a film this is a world and which Dawn of the Dead exists but Casablanca does because there’s no way this film exists simply yeah so it replays Casablanca and the boy lets the other guy go off with a girl but at the same time and this is the pencil my point always capitalism drives it so it’s not presented as a heroic act so it’s very clear that there are economic transactions all the time it’s weird because I was wondering my feeling was there’s a moment where it shifts into genre mode and it’s the moment where the two of them are sitting on the bed and up to that point it’s been kind of you know we’ve been paying attention to those kind of contemporary politics and the raids and suddenly a narrative love story it’s almost like you decide Petzl almost decides it’s on us and it’s almost so clunky you think this is a bit nonsense where it suddenly becomes the love story and there’s and again another Maria Brown thing okay with the scene where it comes back from the war ever mr. Brown is I don’t remember his name mr. brown come back from the World War and she and he finds Maria in bed with a black – American GI and then there’s a fight and then mr. Brown goes to prison for his wife having anyway yeah now that’s see it’s almost exactly it’s not sexy but it’s very similar but it was like right we need something to keep the moon be going now because there’s a lot of the images are very pretty even though it’s late already

I think oh you’re up you’re up yes very bright very bright sunny push graffiti everywhere I mean and I do think that’s really interesting in terms of shots of Marseille and I think you could imagine a critique of the film or a criticism of the film which says actually this isn’t what more say looks like you know I mean that area where interests and his mother lived really quite no it doesn’t I mean so innocence and this was just surely our favorite bit this brings me back to my favorite bit when he’s being asked why aren’t you gonna go write about this stuff and that sort of the new German cinema again because my favorite bit of the film there’s no question is my favorite the family says oh yeah we went on a trip and we had to write an essay about it let’s go there and we’re in Italy so much that you’ve actually also spoken always deserves of Showtime that’s what the point is it you know he doesn’t want to have to make social conscience so much it doesn’t want to have to do an essay about that and so the criticism which comes out and that it’s not Ken Loach it’s not pretty enough that doesn’t look pretty old sorry my other favorite bit was he says no I don’t wanna be a writer I want to be a film and TV technician yeah and those are three very important concepts I think so not an artist but a work an engineer someone who makes make stuff work so it’s not about being an artist yes absolutely but also that you’re a technician Europe rather than think someone who was the romantic imaginary of the poet who dreams up all this stuff you’re actually working with a set materials which you have to engineer in a certain way to construct so film is in district as a kind of engineering exercise I think is yeah I think that’s very sensible I was thinking as I’ve just done year me this joint when he’s out is so telling the woman get strategize and they’re all selling narrator we should talk about this scenario as well yes we should it sort of observes that what we all felt was jammy because they’re just signing their motion so it’s to buy some girth is that what you’re saying man that the maker has decided to check on the bystander person

observing motion art appointment efficiently not yet not to as it were take a party or I may use Ken Loach his name in vain here it’s very unfamiliar not to take a kind of partisan view on this or a kind of moral stamp the air stands make a clear moral to have a clear moral position but and not the right track so the filmmaker is someone whose job it is is to make us witness these image yeah and make a scene something like the my immigrant problem described we know that make the questions around immigration see us see them afresh see them there’s something really complex that anyone can anyone anyone can attend up in the scenario it’s not us in them because the people who are looking shameful or also refugee yeah exactly it’s not like there’s a lovely scene at the start where the woman’s a street singer there he went that way you know French collaboration as it were with the security forces but what point does she become the person they’re looking for no I think that’s right and again you know they can almost anyone so there’s no understood you don’t really get any sense of why our central figure is on the run we don’t get any sense of a particular political affiliation use no real identity somebody else’s well it’s interesting this is what’s for the novels written by woman and so there’s a not a savior and as I guess who went to Mexico herself haven’t so there’s something really quite interesting and she was a member of she was closely affiliated with a common but she’s much more the figure of some writer who’s committed suicide than the central figures the bystander then becomes the bloke in there this is also a bit of a reveal this is narrated figure B then it’s revealed at the end to being a waiter and I use the words waiter deliberately there yeah I was working German that johan but the waiter is one of the kings actually on the other side of the bar so we’re all in the same space and the wait was obviously someone who was economically bound into a certain structure what he’s reliant on the refugees coming in and eating his food to keep him in a job that was a really intimately our lefty liberal positions we recognize that we are we have some shame of being bystanders but these bystanders are also people who are caught up in this history in this mess they haven’t escaped they’re not free they’re in the same car yeah they’re next this might just be a silly nerdy thing I don’t know heard significant news but I noticed at one point in the cafe their peak serve the day was for me a melon well no but everything know that the meson say yes there’s also a nod towards novel in terms of when outside the flat or the apartment waitress and his mother okay there’s a thing that says boulevards Boulevard it’s the housing estate or what we call the project whatever does tremendum afraid for those of us who are they there’s incredible attention to detail there you can’t go wrong with a petal comb you can dig away at the lease of centers you wanna and it’s always a problem because again it’s is tickling our tummies as it were he’s giving us a little a cinephile a bit of fun you know you’re noticing references and especially with an adaptation you know a lot of people say oh well the film adaptations very much stuff you know guess I’ve had patient is actually a really important thing here because in a sense Petzl is working with a novel which already exists all this stuff in the film about the stories already told it’s all fatalistic in a sense he’s cause he can’t get away from the fact as this story’s already been written and he’s kind of hamstrung that’s what I have not least there are certain Bank trees he can’t escape and then to come back to your point in a racer it’s really annoying when the narrator you’re not fine but the rate the first company thinks hold on is this gonna destroy the tone

absolutely I so then how reliable is what you’re seeing at any point before he feels it’s all in German yeah the narrator is in German which again is also very interesting because that would imply that the narrator behind the bomb a refugee and therefore also to pay attention because where they speaking French and the parts were resolved and the speaker already speaking German well that’s one of the things I have a lot of fun in investing in looking at this well if you really want to think when you’re just concentrating or making subtitles yeah it can replace a better track I mean I know the same in German contain their sound some of them obviously either said the German yeah without great I mean the film is I think totally aware of what it’s doing and who speaking war and I mean there’s probably something to do with accents as well cuz I’ll send to a figure with the speech impediment compared to the cut-glass German love the women or the dogs yeah there’s all sorts of potentials there I think which are embedded in the language you know these points you begin to think ah what time zone is this anyway so when the go is going on about Borussia Dortmund oh we have and all these bits of German he’s learn now how does he listen to the radio yeah I mean these days you’d say it was a Champions League in but then maybe from his father yes imagine you know that’s also another reference to a really terrible sorry there’s a really terrible film called the miracle of bound okay never watch it anyone please there’s maybe thousands into and it remembers Germany West Germany winning the World Cup 1954 and it’s about farther in a song relation and the son’s obsessed with football yeah you know Martha Maria Bonneville radio yeah donut you’ve done it give up cuz I was thinking you’re back oh that is so right the football pitch on the radio he’s just reworked so other things you noticed because George should what you sing cuz I yeah I’m kind of sitting all this Carlo how can I teach this the lead I’m sure there was something about like in Phoenix about him but also I notice he has this scar on his mice which makes him very distinctive and I mean it’s probably not relevant at all but you wonder what the sessions have been mirroring thank someone in this country and certainly in America that sort of person would be called a character actor is that maybe cleft palate I mean I don’t know I don’t know what I you know don’t know the scar surgery I didn’t think that it was right up to his nose to stop I wonder I don’t know the actor I’m never falling in the pool because it’d be interesting to see if that is that you know because if that’s actually a surgical intervention or some kind of wound it’s actually would actually be really interesting yeah I would agree it’s very what’s interesting is in the earlier pencil films so contemporary abilities what he’s really trying to investigate is the kind of well in Britain we do it by a David Brent in the office but in Germany they do it slightly more seriously he’s investigating the mindset of the middle manager and so all those men are very clean cuts you know smooth and Sinti been working offices and so this is quite a different take one thing you will do when you Swaney watch the other pets or thorns which are I’ll send you a list of recommended ones in order as I mean generally use aleena us okay as his general central female character she looks very much like the woman who was playing with Murray in this book very similar I don’t know the back some than any research on the trances I don’t where there is a reason why Nina hospitals looks very very similar shapes and refined okay you know almost like I wouldn’t wouldn’t say it has a type but there is a kind of in the way that Fassbender – agora unmanageable it was in all that almost all of us benders films so he has a kind of actress he works with and they have a very clear method then as well always a very clear method so it’s interesting in a sense the women would be much stronger in previous have been much more at the center of a lot of previous talk them certainly Phoenix which is about a female of course survivor Barbara which is about woman existing in the GDR again more historical material and then some of the forms which are about middle managers but also account women caught up in the neoliberal economic environment so this was a nice new one I think it tells you probably quite a lot about the 1940s in this insanity has didn’t feel able to place a female character at the center this the hero there’s a lot of calf game here on the poster will say Caprica meets Casablanca category been first published in 26 so some lioness acres will be familiar with Africa and it is yeah diminutive weirding around in massive cues a bed of people again I love the way in which that’s updated and they know it essentially it will look the same it’s just there’s a number ticking over as zeros your number comes up so category is very strong in the saviour’s imagination and obviously in Kafka it’s a man the senator of that Lasker’s camp is writing in 1913 and it’s full of male neuroses but Vegas doesn’t necessarily reflect on that when she’s writing about it’s a problem of existential drama something about their you know poster there across the road that’s not the image she would feel and watch the film that’s not the image of the man you would take away with because he looks like I am here for babies he’s bigger than the fray the venetian blinds maybe well yeah I said there is a lot of my marketing to get people in this room yes I think that I figure that’s the case we can transitory but not moving yes it’s not gonna I mean it’s interesting is it also doesn’t however maybe there is something bottom like about that that’s actually you know in the sense of being what are the motivations for him doing any of the things that he does because we never actually find out he is quite a mystery we can’t even remember what his name is because he very quickly takes yes he’s a writer who was very clear well-known identity today very much he just turns up and people say yes and to also back tomorrow when you could do that Maurice today what did you open a surveillance camera that’s the classic pets or moment as well sorry there was a bit when and actually because this is what we might move what are you saying about the non visibility I say you don’t see me anywhere you know you don’t see us anywhere we’re there with a don’t see us anywhere yeah and there’s a view which is a CCTV camera and it’s ironic and obviously irony is you don’t see us anywhere and yet were being protected you said they were always saying so you know he’s having his cake and eating it he said him in the past but he’s also having a little nod towards kind of surveillance this is what you’ll see elsewhere and in his film sees it’s for rocking rocky there’s a whole load of

yeah exactly that’s a really important way of thinking about if I’m not just as a way of mixing past and present but also to say past is coming back to us but also the things of the future were we’re already there it’s all new yeah and expose us as in this film there is nothing new is just among its the port of Casablanca it’s not a new film it’s based on an already existing stories so there’s nothing new in a ways there’s no claim towards originality and I kind of forgave it on the end and I forgave it because it was as he said as he walked out times a second important because road to nowhere is I don’t know what road to nowhere is about and it’s like one of those things that week or up with a petal petal is our own so it’s my own system you know that’s your teenage song talking heads dnews mid-eighties – no and this is it like somebody who what we would recognize as a it’s very clear depression well it’s again what’s it doing in this film and then what’s its but it’s that a meeting point for years about something coming 84 84 33 are always born 1984 oh well I mean but I think that the problem for me is it’s a song that I hear every day actually eighties it’s it’s still with us but it wasn’t there yet but yet it already was in a way it’s pre-burn enroll it speaks to the anachronism and then of course so you have it’s out of time but it’s also perfectly it’s perfectly timed I knew is gonna do that as well it was a bit though I think you know this song lasts 3 minutes 45 seconds or whatever and no it’s almost like light relief in a way it’s a bit of and then you’ve got change yes – exactly it’s the stone yet that’s why I forgave it in the airless I think he’s actually not playing with nostalgia yeah yeah remember this song from the eighties we were going nowhere then and also and obviously from my work on cars there’s no road since I loved by the way sorry this is distant chassis like them I love the scene in the car whether in taxes he always have to be where we’re pets or what kind of cards yes and normally when petals turn stars it would be someone driving some of the passages st. not looking at each other in kind of two different spaces room very much cars two spaces of separation happens world and here you have founded the romantic climate romantic things for two shots of them really tight in the car on the journey away and of course it’s all unraveling and then it becomes claustrophobic yeah many us together forget I even feel like you can’t breathe yeah cannot space with them it’s such a tight frame yes well I love you right up close them and they’re so close to each other you know they’re almost like one and say they’re so close just think finally they’re going the romantic recipe looks like there’s a release of tension and immediately there’s just a huge spike of tension yes feels almost like if it had stopped at that point it would have been quite fun Hualien or something where it would have sort of done a food documentary – a go through that with him yeah that’s why I’d say about the film is filmmaker as well is that he wants you to I mean again I think he’s learnt this from Fassbender the emotional response this oral response is part of the political experience of cinema that you are actually having an emotional responding that this is it’s not just about you know you have going through something there while you’re watching and working with those emotions and do something with those emotions or happen through them being forced exactly uncomfortable I mean it’s really uncomfortable moment in that car and that’s why I love it because it’s different again I’ve never seen them shoot a car seem like they’re always about people like non-communicative or because if you’re driving a car then you’re focused on repairing a car right the person is in there working there’s the tree and as well which I have a colleague and I’ll not mention who works on all of us memo realization in German cinema and German literature and her interest in that film will be in fantastic you have refugees in well I won’t call them cattle trucks but in non-standard accommodation but that’s non-standard accommodation looks just like an empty office absolutely stunning you know you’re expecting because you’ve known if you think about German history and people transported on trainings and there are obvious kind of resin oozes then those resonances are made clear fantastically at that bit we said what’s the last thing you wrote and he says this monologue about being on the way to hell or already in hell and at that point petrol goes back to the lungs and these are obvious kind of gestures so without showing without telling gestures towards the broader things happening in Europe from this point onwards but I just was really fantastic choice to represent that travelling space as a kind of empty office yeah space let’s see all you see is the plug on the wall you know this is like all the accouterments of a kind of humanoid space

look at the inhumane conditions under which these people are traveling it’s saying look at the inhumane conditions

like these little box space which are our spaces in which we live in time that windows exactly and then you open the window a bit under your court and there’s someone dying they reminded me of my memory might be ever seen Michael Winterbottom film in this world planet Ricky and Steve who’ve been going around in their car one of the things that women Pottermore for us this is not really okay when they go on the trip so there’s first time when the trip was by drying Lake District have you ever seen it I have seen no they should watch it because it’s really interest there’s basically two tosses playing up to their personality their TV personalities but what went what Enfocus they go around and they eat in various places and what woods what and then make sure he does is he shows you know the food is made so Winterbottom is very aware of the fact that there is labor in boring as labor always invisible in all this kind of celebrity Nancy’s consumption when one makes a film about and it’s pseudo-documentary well I mean that’s obviously a very dodgy term I shoot lead over that one more but its handheld cameras and traveling with two kids making their way from a shower so the East Pakistan all the way through to the Channel Tunnel and then under the Channel Tunnel to London following this kid and you know people dying in incarceration lorries as what’s the watch there’s probably like 20 years old there’s something no it just reminds us how this problem and I use the word problem in inverted commas how this situations actively with us for a long long time there’s no part of our accepted normality it reminded me of that and I think if you want to do there are some I mean the novel is absurd because this idea that this woman is running around and seeing the Mexican Consulate and then also somebody who are not being put your husband’s got a funny sweet see penny you’ve got to kind of this is something fairytale like and he’s actually big into his fairy tales as well anything else Paula that struck me I think that’s exhausting enough but no it was a really great experience Walter I think it was it was good to go and watch it because humming was a senemo very much this year that’s what all we though it was just nice to have a reminder that actually I do quite like German cinema whether it’s New York just German or whatever and I haven’t seen any for quite a long time and I’ve always got something out of it every time I have so it was nice to to be reminded of that yeah I don’t get cinema or not because of the nature of the structure of my life and the only things I get to go other things which other people be happy this actually I’m gonna say this this is like in 1987 YouTube brought out the Joshua Tree okay now over the previous three years I’ve got as embarrassing as we’re back in the road to Noah over the previous three years I’ve got completely into the previous albums by this band so when their new album came out it was like a special treat you know you go down and the first time you listen to it it’s really something special and ever since then the Joshua tree comes rattling um I don’t know point onwards a new release for now you – oh snap it now then appears on your bloody iPhone without you want to well I think about Petzl is he’s still making films there’s no drop in quality once these are really that’s pretty rare yeah it’s yeah he’s still still hitting the you’ve been listening to audio visual cultures with me Paula Blair and my very special guest Simon Ward this episode was recorded and edited by polar bear and the music is common ground by air tone licensed under creative commons attribution 3.0 and available for download from ccmixter org if you like the show and find its content useful and interesting please help cover production and distribution costs by donating to paypal dot me forward slash pei Blair or libera Paycom /p e a Blair episodes are released every other Wednesday please do read share and subscribe on your chosen listening platform as this helps others find the show for more information visit audio-visual culture store wordpress calm and follow av cultures on Twitter and Facebook thanks for listening and catch you next time

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