Michael Pattison
Birth : 1987-10-12, Gateshead, Tyne and Wear, England, UK
History
Michael Pattison is a writer and film critic from Gateshead, England. His writing has been published by Sight and Sound, the BFI, Reverse Shot, MUBI, VICE, Fandor, Indiewire, RogerEbert.com, The Guardian, Playboy, Film Comment, Filmmaker, Cineaste, Senses of Cinema, Little White Lies, The Calvert Journal, Tribune, kolik.film, KINO!, Ekran, SIRP and others. He has also reviewed films for BBC Radio.
Michael contributed several essays, including the chapter introduction on documentaries, to Directory of World Cinema: Britain 2 (Intellect 2015). His booklet essays for home entertainment releases include the Rainer Werner Fassbinder Collection (Arrow), The Driller Killer (Arrow), and The Last Detail (Powerhouse).
In August 2016, Michael joined the programming team at Alchemy Film and Arts Festival. As a programming consultant and/or Q&A moderator, he has also worked for the Viennale, Crossing Europe (Linz), Bradford International Film Festival, Kino Otok (Izola), IndieLisboa (Lisbon), CurtoCircuíto (Santiago de Compostela) and Seville European Film Festival.
Michael has tutored workshops for aspiring critics at Warsaw Film Festival, Dokufest (Prizen), ZubrOFFka Short Film Festival (Białystok), Black Nights Film Festival (Tallinn), Curtas Vila do Conde and Berwick Film & Media Arts Festival. He has appeared on juries at festivals in Cartagena de Indias, Warsaw, Ljubljana, Marseille, Palić, Drama, Thessaloniki, Bratislava, Lisbon, Lecce, Santiago de Compostela, Lima, Bradford and Pančevo.
Michael has a first-class BA (Hons.) degree in Film and English Studies from the University of East Anglia and a distinction-standard MA in Film from Newcastle University.
http://www.idfilm.net/
Sound Designer
Cycles of everyday urban living play out against a site of zombie capitalism.
Camera Operator
Cycles of everyday urban living play out against a site of zombie capitalism.
Editor
Cycles of everyday urban living play out against a site of zombie capitalism.
Director
Cycles of everyday urban living play out against a site of zombie capitalism.
Editor
From Waltham Abbey to the River Thames, "Lea River Bridges" documents a single dérive through East London, taking the many overhead structures that span the River Lea as its structuring principle.
Camera Operator
From Waltham Abbey to the River Thames, "Lea River Bridges" documents a single dérive through East London, taking the many overhead structures that span the River Lea as its structuring principle.
Director
From Waltham Abbey to the River Thames, "Lea River Bridges" documents a single dérive through East London, taking the many overhead structures that span the River Lea as its structuring principle.
Story Coordinator
Freshly hatched bee Maya is a little whirlwind and won't follow the rules of the hive. One of these rules is not to trust the hornets that live beyond the meadow. When the Royal Jelly is stolen, the hornets are suspected and Maya is thought to be their accomplice. No one believes that she is the innocent victim and no one will stand by her except for her good-natured and best friend Willy. After a long and eventful journey to the hornets hive Maya and Willy soon discover the true culprit and the two friends finally bond with the other residents of the opulent meadow.
Camera Operator
A short companion piece to "Play History" recounting the struggles of the Keelmen of Tyne and Wear against forced naval recruitment.
Writer
A short companion piece to "Play History" recounting the struggles of the Keelmen of Tyne and Wear against forced naval recruitment.
Editor
A short companion piece to "Play History" recounting the struggles of the Keelmen of Tyne and Wear against forced naval recruitment.
Director
A short companion piece to "Play History" recounting the struggles of the Keelmen of Tyne and Wear against forced naval recruitment.
Editor
A short companion piece to "Play History" presenting five markers of territory on and around Tyneside.
Camera Operator
A short companion piece to "Play History" presenting five markers of territory on and around Tyneside.
Director
A short companion piece to "Play History" presenting five markers of territory on and around Tyneside.
Editor
"Play History" concerns the historical development of a particular landscape and the social, political and economic implications that inform it. Told from the perspective of a wandering narrator, who has arrived in Newcastle-upon-Tyne by accident, the film is a rumination on the interconnectedness of things.
Camera Operator
"Play History" concerns the historical development of a particular landscape and the social, political and economic implications that inform it. Told from the perspective of a wandering narrator, who has arrived in Newcastle-upon-Tyne by accident, the film is a rumination on the interconnectedness of things.
Writer
"Play History" concerns the historical development of a particular landscape and the social, political and economic implications that inform it. Told from the perspective of a wandering narrator, who has arrived in Newcastle-upon-Tyne by accident, the film is a rumination on the interconnectedness of things.
Director
"Play History" concerns the historical development of a particular landscape and the social, political and economic implications that inform it. Told from the perspective of a wandering narrator, who has arrived in Newcastle-upon-Tyne by accident, the film is a rumination on the interconnectedness of things.
Music
Institutional bureaucracies affect a researcher's relationship; in turn, a break-up sends him towards a diagnostic assessment.
Producer
Institutional bureaucracies affect a researcher's relationship; in turn, a break-up sends him towards a diagnostic assessment.
Sound
Institutional bureaucracies affect a researcher's relationship; in turn, a break-up sends him towards a diagnostic assessment.
Editor
Institutional bureaucracies affect a researcher's relationship; in turn, a break-up sends him towards a diagnostic assessment.
Camera Operator
Institutional bureaucracies affect a researcher's relationship; in turn, a break-up sends him towards a diagnostic assessment.
Writer
Institutional bureaucracies affect a researcher's relationship; in turn, a break-up sends him towards a diagnostic assessment.
Director
Institutional bureaucracies affect a researcher's relationship; in turn, a break-up sends him towards a diagnostic assessment.
Idea
A man and a woman are attacked on a country road. The woman loses her sight, the man loses his hearing.
Editor
A man and a woman are attacked on a country road. The woman loses her sight, the man loses his hearing.
Director
A man and a woman are attacked on a country road. The woman loses her sight, the man loses his hearing.
Cinematography
A short documentary on the Tyneside music scene.
Sound
A short documentary on the Tyneside music scene.
Editor
A short documentary on the Tyneside music scene.
Director
A short documentary on the Tyneside music scene.
Producer
A short film by Michael Pattison.
Cinematography
A short film by Michael Pattison.
A short film by Michael Pattison.
Editor
A short film by Michael Pattison.
Writer
A short film by Michael Pattison.
Director
A short film by Michael Pattison.
Producer
A circular short film on violence, using long takes and dead time.
Music
A circular short film on violence, using long takes and dead time.
Editor
A circular short film on violence, using long takes and dead time.
Camera Operator
A circular short film on violence, using long takes and dead time.
Writer
A circular short film on violence, using long takes and dead time.
Director
A circular short film on violence, using long takes and dead time.
A circular short film on violence, using long takes and dead time.
Producer
Two young males respond in different ways to the stillness of narrative, information, the visual frame.
Cinematography
Two young males respond in different ways to the stillness of narrative, information, the visual frame.
Music
Two young males respond in different ways to the stillness of narrative, information, the visual frame.
Two young males respond in different ways to the stillness of narrative, information, the visual frame.
Camera Operator
Two young males respond in different ways to the stillness of narrative, information, the visual frame.
Editor
Two young males respond in different ways to the stillness of narrative, information, the visual frame.
Writer
Two young males respond in different ways to the stillness of narrative, information, the visual frame.
Director
Two young males respond in different ways to the stillness of narrative, information, the visual frame.
Cinematography
An artist realises the very thing causing his creative block is the one thing he wishes to give expression to - a break-up.
Music
An artist realises the very thing causing his creative block is the one thing he wishes to give expression to - a break-up.
Editor
An artist realises the very thing causing his creative block is the one thing he wishes to give expression to - a break-up.
Writer
An artist realises the very thing causing his creative block is the one thing he wishes to give expression to - a break-up.
Director
An artist realises the very thing causing his creative block is the one thing he wishes to give expression to - a break-up.
Screenplay
Based on the short story by Hans Christian Andersen.
Director
Based on the short story by Hans Christian Andersen.
Director
The Path of Remembrance and Comradeship is a long walkway encircling Ljubljana, Slovenia, charting the length of a military perimeter that surrounded the city during its occupation in World War Two. Seventy large stones dot the path at intervals along the way, marking the position of former bunkers erected by the Italian and German armies to quash a burgeoning partisan resistance. Wryly mimicking the leisurely pace of a stroll, Michael Pattison’s Lubiana Laibach inches along the path one boulder at a time. The film is made up of a dazzling montage of static shots, one dissolving seamlessly into the next. The marker of each shot to the other is the fixed outline of the stones themselves, which do not change position on screen. What warps and transforms before our eyes is the space around them, a powerful evocation and metaphorical reanimation of the invisible contours of a history of resistance.
