Issue 4 | September 2010
September 25, 2010
Issue 6 | April 2011 | “Revolutions In Progress” Special
April 1, 2011

Issue 5 | November 2010

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Editorial by Daniel Fawcett


One+One Filmmakers Journal is named after the 1968 film One Plus One by Jean Luc Godard. The film is in part a document of the Rolling Stones in a studio, recording the song Sympathy for the Devil and part staged scenes of political revolutions over which we hear extracts from various revolutionary texts. A reoccurring image is of slogans being painted on to walls and cars but each time the shot cuts before the slogan is completed. This is a film made in a time of upheaval and revolution, it captures the sense of a revolution in progress, a revolution that has not yet concluded.
When the studio released the film they made two changes which significantly altered the meaning of the film – the first was that they changed the title to Sympathy for the Devil and the second was to include the full version of the song at the end of the film, both done in order to make the film more commercial and both were made against Godard’s wishes. To have the completed song at the end of the film contradicts the theme of revolutions in progress that is the movie’s focus. Godard was so angry about this that he punched the films producer at the UK premiere.
We are on the side of Godard, we are on the side of all filmmakers that have a vision that can not and should not be compromised for commercial or any other reasons. One+One seeks to be the fist in the face of those that force a compromise of the artist’s voice.
One+One is never the final word, it is a part of a process for all who write for and all who read it, a centre for thought and discussion, we will fight to break open the process of film making and give attention to the art of film rather than the industry. In fact industry is no longer needed, film no longer has to be a part of industry, film makers now more than ever before in the history of the medium can make films as art in the purest sense without giving an ounce of energy to industry or commercialism. No longer should film be seen as product.


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On the (Endless) Road – Gus Van Sant by Matthew Mishory
Searching For New Languages – Stan Brakhage by Clara Pais
The Specter of Medea by Bradley Tuck
Christ Kid, you’re a weirdo! by Melanie Hay
The State of Independence by James Marcus Tucker