Incógnita

Terra australis incognita was a hypothetical continent posited in antiquity and which appeared on maps between the 15th and 18th centuries. The existence of Terra Australis was not based on any survey or direct observation, but rather on the idea that continental land in the Northern Hemisphere should be balanced by land in the Southern Hemisphere.

A young American woman travels to Bosnia to contemplate life there after a period of war. The camera is her being, moving quietly in and out of apartments and mosques in Sarajevo, across cultures, between the real and the imaginary.

Terra Incognita follows life on a mysterious island, inhabited by immortal beings. These beings lead a pre-civilized life forgotten by time, spending their endless days in hedonistic lethargy.

Film by Hanns Anselm Perten.

Second part of a triptych of films that utilises different histories while focusing upon recognizable locations along and within the River Thames: from Millbank Prison (now the site of Tate Britain) to Second World War architecture on the Essex coastline. Linking places as far flung as the Canadian Northwest Passage and a cellular prison in the Andaman Islands, the three Missives create an extended narrative recited by the female captain of a ship returning to the Thames from the Canadian Arctic. Meta Incognita: Missive II is based on the exploits of the Elizabethan privateer turned explorer Martin Frobisher, who repeatedly sailed to the Canadian Arctic in search of the Northwest Passage. Set in a future where global warming has opened up the Northwest Passage to heavy/commercial/trans-continental cargo trade, the narrative follows a renegade ship’s captain who has undertaken a commission to smuggle the last remnants of an unspecified natural resource.

This documentary follows the journey of neurologist Dr. Jack Kessler, who was inspired to apply stem cell research to find a cure for spinal cord injuries after his daughter Allison was paralyzed in a skiing accident. Exploring the science of modern stem cell research through a personal prism, the film offers a candid look at the bioethical issues and puts a human face to those living with injuries like Allison's.

New film by Anton Mamykin

After the unexpected death of his wife, Diego (75) realizes that his life is also getting close to the end.

Terra Incognita is a multi-plane cut out animation made from photocopies of 19th century illustrations made during the race to the poles and drawings by Eric Leiser. For the puppet performance it was flat-rod puppets on a proscenium stage with a screen behind them, onto which the animation Terra Incognita is projected. Many of the sea monster puppets and ships performed in sync with the animated ones, along with splashes of water and powdered chalk to mimic snowfall. These techniques came from my time studying puppet theater in Prague, in 2002, and learning from Svankmajer and Svankmajerova. It was a lot of fun to both animate and to perform live with Jeffrey's wonder score. At the same time the film comments on the colonial race to claim the Arctic by various countries—a race that, in a sense, is still going on today, but this time again for oil—and the murders of the Inuit people who had inhabited the land for millennia.

ter.ra in.cog.ni.ta: a place, subject, or situation that you are not familiar with it; The Space.

In his hypnotic ‘Terra Incognita’, Timoteus Anggawan Kusno questions colonial power and heritage by stretching in the liminality of fiction, history, imagination and memory.

A scholarly pirate, some crew members, a fanatical first mate, and their fresh-caught Irish slave are shipwrecked on an unmarked island awaiting rescue - it comes.

This collaborative work is a fusion of imaginary and music expressing an ever-changing flux and paradox in perceived space and location and involving notions of navigation, geometry, and mapping.The animated imagery derives from hand painting and etching on 35 mm clear and black motion picture film. While digitizing, the film was physically bent, twisted, rotated and treated to a number of hands-on manipulations. The images then underwent further visual transformation in digital post production.The music was largely an intuitive process. the basic sound sources including thumb piano, pygmy pipe and gamelan metallophone tones, were digitally transformed and then contrapuntally layered, inter-cut, diced and threaded into a pulsating «spider web» design suggested by a visual imagery.

A cruel, ruthless, immigrant killer pursues his victim. The latter is trapped in a provincial station, waiting for a train that might save him from death—or for death to save him from fleeing.