This cinematic virtual tour of Banksy’s Dismaland is an eerie and disturbing satire of modern society

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Street artist, Banksy, once notoriously erected a guerrilla art piece in Disneyland—a sculpture of a Guantanamo Bay inmate that would haunt and confuse the whimsy-seeking “Rocky Mountain Railroad” riders for an entire hour.


Recently, Banksy’s designed his very own park, known as Dismaland, Bemusement Park, a masterpiece which took place in Weston-super-Mare in Somerset, England. The whole project was prepared under the radar of the public and media, popping up over the weekend of August 21st, and closing in the last few days of September. Dismaland was completely self-funded by Banksy, and featured 58 artists. For only £3, a tight knit crowd of 4,000 could attend the theme-park per day. Among the attendees was filmmaker, Jamie Brightmore, who used his “strong history of banging the refresh button” to attend the park on three separate occasions and put together a cinematic exploration of the event.


The first day of the filming process was made difficult by the downpour, which to some extent, is to be expected in the melancholy-themed park. The second day was a perfect overcast, but Brightmore had his tripod confiscated. Still, by the end of his third day, he was able to put enough footage together to produce a short virtual tour which adequately re-creates the eerie feeling of being in the park.


Brightmore used sounds that were captured on location to create a soundscape that accurately captured the “essence of the experience,” as Brightmore notes on his website. This conjoining of audio and visual is important to creating a narrative through film, which is often overlooked. One of the major benefits of a well-produced soundscape, as Brightmore mentions, is that it has the capacity to tap into the viewer’s subconscious and completely change the mood of the visual. This is exemplified in classic films like Quentin Tarantino’s Natural Born Killers, in which scenes of brutal domestic abuse are paired with a laugh track to create discomfort in the audience.


“In this age of content overload, I’m constantly trying to differentiate myself in the projects I undertake. Look out for things like the overspilling clouds and tracked motion on elements hanging out of/into the frame.” Brightmore says on his website.

Watch his visual narrative of the Dismaland experience below: