Street Of Crocodiles - Brothers Quay

From Screenonline: http://www.screenonline.org.uk/people/id/498256/index.html by Ewa Mazierska
"Stephen and Timothy Quay, identical twins, were born in Norristown, near Philadelphia, in 1947. After graduating in 1969 from the Philadelphia College of Art, where they studied illustration and graphics, they won a scholarship to the Royal College of Art, London. At the School of Film and Television they made their first short films (mostly lost), and met fellow student Keith Griffiths, who first collaborated with them on Nocturna Artificialia (1979), funded by the BFI Production Board. Working together as Koninck Studios, with Griffiths producing, the Quays have maintained a steady output of surreal and fastidious puppet animation films, supplemented by design work for opera, theatre and ballet. To help finance their avant-garde projects they have also worked on TV commercials, channel identification footage, and numerous music videos, including the Stille Nacht series, and, less characteristically, Peter Gabriel's Sledgehammer.

The Quays are renowned for their craftsmanlike methods and their unusual sources of inspiration. Apart from their puppets, which typically look like old dolls abused by many generations of children, they construct their own sets, arrange the lighting, and operate the cameras. The films draw heavily on twentieth-century European visual and literary culture, especially the surrealist and expressionist traditions represented by the Polish writer Bruno Schulz, the painter Max Ernst, and their fellow director of puppet films, the Czech Jan Svankmajer. As with Svankmajer, the Quays' cinema is short on conventional narrative but long on enigmatic visuals; music usually plays a major part in creating a bizarre, sinister atmosphere.

The world invented by the Quays appears frozen in time, covered with dust and cobwebs, full of mirrors and strange machinery - a world stored in a locked room or glass cabinet that nobody has accessed for decades. The colour scheme often suggests the hues of old photographs: sepias, browns, and dirty yellows predominate. Nocturna Artificialia, describing the cataleptic hero's adventures when he leaves his room for the city, immediately established their individual technique and propensity for dream narratives. Subsequent films in the early 1980s, made for the Arts Council or Channel 4, paid specific homage to the team's European influences, including the Punch and Judy tradition, the artistic vortex of 1920s Paris, Svankmajer, the Czech composer Janácek, and, in Ein Brudermord, the claustrophobic imagination of Franz Kafka.

The twenty-minute Street of Crocodiles (1986), their first film shot in 35mm, decisively lifted the Quays beyond the quasi-documentary orbit. The film is a homage to Bruno Schulz, one of whose novels bears the same title. The setting is a mythical land, somewhere in pre-Second World War provincial Poland, which operates like a living organism (Schulz in his work often compared a city to a living body). The population consists of people either half-dead or half-alive, with empty heads, who move in a circular, mechanical way, oblivious to anyone else's movements. The Quays suggest that this degraded land is stored in a deserted museum and activated by an old Kinetoscope machine - something that could be interpreted as a sign of their faith in the creative powers of cinema."

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