b. January 31, 1955, Melbourne,
David King was a member of the Melbourne
Filmmakers Co-Operative in the mid-1970s when - inspired by the
likes of Jean-Luc Godard, Vilgot Sjöman, François
Truffaut, Rainer Werner Fassbinder, Ingmar Bergman, and Federico
Fellini - he began making student films on black and white 16mm
with a borrowed spring-wound Bolex, a shaky tripod, and a handful
of photoflood lights.
this, he briefly became a professional cameraman, shooting promotional,
educational, and horse racing films throughout Victoria.
In the 1980s,
he freelanced as a scriptwriter for the ABC, penning four episodes
of the Awgie Award-winning young peoples' television series, Home,
which subsequently sold to networks all over the world.
time, he collaborated with Brian Jones on the privately-funded
independent low budget erotic rock'n'roll comedy Coming Of
Age which was released through Greg Lynch Film Distributors
and subsequently through Golden Lion.
Dystopic Overload - Nemesis
He also received
Government funding to develop a 13-part young people's sci fi
television series called The Parallax Factor, and had a
feature film treatment for an erotic psychological thriller accepted
for development by a New York-based distribution company. Unfortunately,
neither project was produced.
early 1990s, David worked primarily as a journalist, writing a
wide range of features and news articles for newspapers and magazines
before returning to independent film/video-making in 1995 with
the ultra-low budget educational documentary, Getting Together.
he revived a semi-commercial film/video-making career by producing
and directing a series of innovative ultra-low budget community
service announcements, promotional, corporate, and educational
videos for non-profit organizations. Although working for clients,
he had total freedom to create, write, produce, and direct the
projects as he saw fit.
to dramatic film/video-making in 1999 with the short film Enigma
(Digital Betacam, 16 mins) followed in 2002 by The Job
(DVCam/MiniDV, 15 mins) which has now screened at 14 international
film festivals in the UK, Europe, the Middle East, and Canada.
A keen advocate of ultra-low budget guerilla-style film/video-making, he completed his first independent feature length project, the quasi sci fi film PURGE in 2009.
On completion of PURGE, David embarked on a seres of short expeimental videos which he called 'Dystopic Overload'. The images and sound were taken from PURGE but used in a toally abstract, non-narrative fashion, exploring visual/aural ideas and techniques David was unable to explore in a narrative feature film.
The four experimental videos are: Program Failure, Interrogation, Withdrawal, and Nemesis.
Dystopic Overload gained immediate acceptance, being screened at the Peel Your Eyes exhibition in Geelong, the Short Cut film/video screenings in Melbourne, Exploding Cinema in London, on Art television in France, and was the only Australian work of video art to be included in the 2012 Cologne International Videoart Festival which screened it at numerous festivals and venues around the world, including the Museum of Experimental Art in Mexico City.
In 2015 David began shooting footage around the Bellarine Peninsula with a newly-acquired HD action camera. Realising the footage was going somewhere, he continued shooting with a Sony A3000 and developed the footage into what is now the award-winning experimental art film EXIT.
writings have appeared in Boardwalk magazine, IF
magazine, Metro magazine, and on ScreenHub.
Much of David King's film/video-making
(often for non-profit organizations) has been concerned with the
problems and issues faced by people with disabilities. Even in
this field, he sought to create stylish works of art, using split
screen, floating text, bluescreen backgrounds, pictures within
pictures, and superimpositions. During the late '90s, his community
service announcements frequently screened free of charge during
prime time on SBS TV whose advertising department described them
as: 'Among the best we've seen'.
Job (2002) , PURGE (2009) and the experimental Dystopic Overload (2011) represent his
current style and themes as an independent narrative film/video-maker.
concerned with misunderstanding between lovers (The Student,
1975, Enigma, 1999), David now focuses on the alienation
of modern and future man, the way economic rationalist policies
threaten to destroy the things that make us human - compassion,
love, concern for our fellow man, and appreciation of a person's
worth regardless of their economic status.
a cold, soulless future where the man is a slave to capitalism,
dominated and controlled by technology. With a nod to Japanese
anime and the asceticism of Robert Bresson, he seeks to capture
the bleak emptiness of such a future with stark lighting, minimal
set design, and the complete lack of any earthy colours, or anything
organic. This approach can be seen in PURGE. (see also page on PURGE)
(2002, 13 mins, video, drama - independent)
Producer, Director, Editor, Sound Designer.
(2009, 78 mins, video, semi experimental quasi sci fi feature – independent)
Writer, Producer, Director, Co-cinematographer, Production designer, Editor, Sound designer, Co-vfx artist.
Dystopic Overload series (2010-2012, 3 mins)
- Program Failure
What If You Woke One Day? (2012, 1 min, video, experimental)
EXIT (2015, 27 mins, video, experimental)
Editor Winner - Best Director Award, Hell Chess Film Festival, Madrid, Spain, 2016 .
To The End of Time
Expunged from Collective Memory (2017, 2.40 mins, Experimental film, Colour & Black & White, Stereo)
Winner Best Editor award and Best Music award (for Juan de la Encino) at Hell Chess Film Festival, Madrid, Spain, 2017.
To The End Of Time (2017, 4:30 mins, Video Art project for Geelong After Dark, Colour, Stereo)