Summary

The latest materialist gesture in cinema's dematerialisation- uncompromising alter-ego Johnny Kline returns in the form of found and partially destroyed early 20th century pornography and found material depicting domestic scenes. Always inappropriate in his re-appropriation of found materials Kline brings the private and public realms together in the creation of a drive-in cinema and a child's discovery of a satan-worshipping cult. A marriage of Messe Noire (1928) and the Irish landscape captured from various formats including 16mm through a custom-designed telecine apparatus and finished in an anaglyph 3D process, The Curse of Johnny Kline stands alone in contemporary Irish underground cinema.