Closing Credits 2
video installation; dimensions variable;1998/99, remastered 2005

{click image to play: extract 101 seconds}

Closing Credits 2
stills;1998/99, re-mastered 2005

Closing Credits 2 - and you thought it was all over... (Film Poster)
Ink-jet print; 30 x 40 inches;1998/99

Closing Credits 2
installation view; EAST international;1998

{ }

{ a lighthouse...cut off at high tide... }

{ }

{ I took a tour of a glacier... }

{ a disaster from the past... }

{ the weather seemed to be turning strange... }

{they would have certainly needed a guide... }

{ }

{ ii certainly looks supernatural... }

{ I fell asleep next to some rocks... }

{ }

{ apparently the sound was deafening...}

{ she looked familiar... }

{ }

{ world radio news, the headlines... }

{ no one will know... }

{ we won't tell anyone... }

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THE END is a certainty, both in life and in Cinema

But in Cinema, the journey to the closing credits is predicted through the highs and lows of narrative, image and score.

We understand the signifiers of closure - sad music and the archetypal image of a sunset have become a cliche even. However, when the credits start to roll in our own real lives, can we only relate our experience to the virtual lives of actors on the screen? Do films like ‘Shadowlands’ or 'Philadelphia' or the latest episode of 'Casualty' or 'ER' help us to deal with crisis and even death?

Ultimately, are we looking for ourselves in the widescreen image? Or, do we just wish that Tom Hanks or Jennifer Jason Leigh would be playing us in the Bio-Pic of our lives?



Stine Gonsholt
Systa Gunnarsdottir
Arildh Mehn-Andersen
Jill Wood
& Katharine Wilson

including music by

Bedroom Walls
Very Large Array

Filmed on location in Iceland

Written & Directed by
Duncan Ganley


"A plot worth taking in, from start to finish"

Douglas Britt - Houston Chronicle

"...posing the rhetorical question of who is behind the camera"

Nicholas Kersulis - Artlies

"A taut study in withholding catharsis or conclusion"

Christopher French - Art Papers