Steven Ball
Marie Craven
Solrun Hoaas
Daryl Dellora

Melbourne independent filmmakers

Leo Berkeley
Giorgio Mangiamele
Michael Buckley
Moira Joseph

Richard Tuohy
b. August 12, 1969, Melbourne, Australia.

BIOGRAPHY:   Richard quit his job in educational video to become a full time Super 8 filmmaker in 1990. He was only young. After making a number of longish self-funded narrative films on Super 8 and 16mm, he quit his non-job as a filmmaker and went to university for seven years, studying philosophy. After quitting philosophy, Richard moved to Daylesford and built a house and lived in a garden and worked in a bookshop and played clarinet. He also did some occasional work as a cinematographer. There in Daylesford he discovered the Daylesford Super 8 Group, which was a surprise. He began making Super 8 films again in 2004. In 2006 he and his partner began Nano Lab (a Super 8 processing lab) and he has had no free time since. Many of his films remain un-edited or lack an intended soundtrack. He would finish more films if he had more time.


CRITICAL OVERVIEW:    My early films were formalistic narratives, dedicated as I was then to making homages to Ozu. That's long ago. My work now is abstract, though perhaps the formalistic concern remains. Someone described my recent films as 'films about cameras'. I found that astute, but a trifle unfair. Yes, I dwell in a lot of camera techniques - classic and novel: lots of pixilation (single frame), double and multiple exposures, matts and split frames, effect filters, colour filters, distorting optics, found optics, long exposure blurring, re-photography, telephoto shake, various camera mounts, alternative stocks and processing, focus shifts, etc., and often several at once. And I do create all my abstraction effects in the field on Super 8 or 16mm film and thus 'in camera'. What I look for, however, is some kind of nexus between what my camera can do and my subject.

Mostly I film natural features or environments. I try to distil from my subjects certain features that take my fancy. I like to see my approach as a kind of cine-cubism: attending to and abstracting certain features from my subject through making temporal and graphic associations etc., without resorting to a prosaic depiction. I like to cut the 'fleshiness' out of the particular.

Ultimately, they're not about 'thinking'; they're about 'looking'.

Richard Tuohy, May 2008


Paper Chains

Love Life (1990, 38 mins, Super 8)

Ordinary Flux (1991, 47 mins, Super 8)

Paper Chains (with Mark La Rosa, 1992, 33 mins, 16mm)

Sine Wave (2004, 4 mins, Super 8)

Florachrome (2004, 7 mins, Super 8)

Spark (2004, 7 mins, Super 8)

Truck-Truck (2004, unfinished, Super 8)

Bovine (2005, 7 mins, Super 8)


Petal (2005, 5 mins, Super 8)

Bloom Doodle (2005, 5 mins, Super 8)

CT (2005, 4 mins, Super 8)

Natives (2005, 5 mins, Super 8)

The Big Store (2005, 7 mins, Super 8)

Consecration (2005, 8 mins, Super 8)

Cocky-two (2005, 7 mins, Super 8)

Grain-ite (2005, 4 mins, Super 8)

Pear Shapes

Ripple (2005, 5 mins, Super 8)

Strum (2005, 5 mins, Super 8)

Sluicing (2005, 7 mins, Super 8)

The City From Whence MacArthur Returned (2006, 13 mins, Super 8 - digital finish)

Plutonics (2006, 8 mins, unfinished, Super 8)

Red Rover (2006, 8 mins, Super 8)

Champing (2006, 9 mins, Super 8)

Little Boxes (2006, 6 mins, Super 8)

Iron Wood

Twisty (2006, 13 mins, Super 8)

Bristle (2006, 7 mins, Super 8)

Pear Shapes (2007, 7 mins, Super 8)

Mallee Stretching (2007, unfinished, Super 8)

Full Pull (2007, unfinished, Super 8)

Canopy (2007, unfinished, Super 8)

Wombat Man (2008, unfinished, 16mm)

Old Shed, New Shed (2008, 16 min, Super 8 - digital finish)

Mallee Stretching

Corymb (2008, 7 mins, Super 8)

Iron Wood (2008, 7 mins, 16mm)

Boot Fall (2008, 7 mins, Super 8)

Tree Lines (2008, unfinished, 16mm)

RGB (2007/8, unfinished, Super 8)

Zoom Tube (2008, 7 mins, 16mm)

Dead Pan Lake (2008, unfinished, 16mm)

More images from Richard Tuohy's films

Contact Richard Tuohy

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Richard Tuohy, May 2008



Melbourne independent filmmakers is compiled by Bill Mousoulis