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Photochemical Initiatives: The Artist Run Film Lab (RISD, Providence)

artist run film lab

Abstract

In this six hour workshop, participants will be introduced to the theory & execution of the artist-run film lab, including their history, political climate and the logistics of their operations from the subjective standpoint of the facilitator. Additionally, participants will have the opportunity to gain hands on experience with several basic film lab procedures, such as printing and processing, as well as two advance techniques originating from the artist run film lab community, namely Ricardo Leite’s eco-friendly photo formulary and Richard Touhy’s “monoflex” process. Finally, films from a variety of artist will be screened, illustrating some of the key concepts of an artist run film lab.

Attending the Workshop

This workshop is being hosted by the Rhode Island School of Design. Anyone not a student of RISD who wishes to attend should contact host Bryan Papciak (bryan|a|handcrankedproductions.com).

Frequently Asked Questions

Q: I’ve never worked with motion picture film before. Will that limit my experience?
A: Nope.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?
A: Sure.

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?
A: Unfortunately, we do not offer scholarship and because this workshop is taking place abroad, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to look into couch surfing.

Q: I missed the opportunity to attend this workshop. Will you be running it again?
A: If the demand exist, absolutely. Send us an email or message requesting it.

Additional Documents

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Photochemical Initiatives: The Artist Run Film Lab (MICA, Baltimore)

artist run film lab

Abstract

In this six hour workshop, participants will be introduced to the theory & execution of the artist-run film lab, including their history, political climate and the logistics of their operations from the subjective standpoint of the facilitator. Additionally, participants will have the opportunity to gain hands on experience with several basic film lab procedures, such as printing and processing, as well as two advance techniques originating from the artist run film lab community, namely Ricardo Leite’s eco-friendly photo formulary and Richard Touhy’s “monoflex” process. Finally, films from a variety of artist will be screened, illustrating some of the key concepts of an artist run film lab.

Attending the Workshop

This workshop is being hosted by the Maryland Institute College of Art. Anyone not a student of MICA who wishes to attend should contact host Allen Moore (amoore|a|mica.edu).

Frequently Asked Questions

Q: I’ve never worked with motion picture film before. Will that limit my experience?
A: Nope.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?
A: Sure.

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?
A: Unfortunately, we do not offer scholarship and because this workshop is taking place abroad, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to look into couch surfing.

Q: I missed the opportunity to attend this workshop. Will you be running it again?
A: If the demand exist, absolutely. Send us an email or message requesting it.

Additional Documents

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KATAH-DIN

 hair

Process Reversal is pleased to announce that fellow member Taylor Dunne will be premiering her new film, KATAH-DIN, at 7:00 PM on April 14th, 2014 at the University of Colorado at Boulder (Visual Arts Center, Room 1B20.) Following her film, she will also be presenting a rare 16mm archival print of H.P. Carver’s 1930 feature The Silent Enemy, written by Douglas Burden and featuring performances by Buffalo-Child Lance and Molly Spotted Elk.

KATAH-DIN
Taylor Dunne, 2014, USA
16mm, 33 minutes

The Silent Enemy
H.P. Carver, 1930, USA
16mm, 77 minutes

The event is free for all to attend. View the flyer here.

tp dance headdress silentenemy

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Investigations I: Basic Silver Gelatin Emulsion

Investigations_1

Abstract – Investigations I: Basic Silver Gelatin Emulsion Making

Working with motion picture film today is both an intimidating prospect as well as an exciting one —  prior to this point in history, film was the product of a highly competitive industrial science which rapidly developed from the primal photographic processes of the late 18th century to the multi-layered, monopack films of meticulously engineered silver halide grains produced today. Despite this maturity, however, film was never anything more than a means-to-an-end for an industry which never really cared to understand what film was or what film could be. Given the comparative convenience of digital photography, therefore, both the technological and theoretical development of film has undergone a widespread abandonment among industry figures. However, in the wake of this abandonment, we’ve also been left with perhaps the most intriguing of opportunities: to take this industrial science and build within it a new medium with new ways of speaking, new ways of thinking and new ways of seeing…

In this first part of a series of investigations into photochemical engineering, we will be focusing on preliminary theories concerning emulsion chemistry and it’s practical application in the contemporary darkroom. Topics that will be explored include the history of silver gelatin photographic materials, the theory of emulsification and latent image formation, and the practical experimentation of various techniques for hand making motion picture film. The seminar will culminate in a simple silver gelatin emulsion which we will coat on to pre-existing 35mm cellulose triacetate and then photograph and develop as a negative.

Attending the Workshop

All prospective participants should register via email at contact@processreversal.org. Additionally, we will be seeking a 10 dollar registration fee from each participant to help cover the cost of producing the workshop. There are no other requirements for attendance.

Frequently Asked Questions

Q: I’ve never worked with motion picture film before. Will that limit my experience?
A: While previous experience with working with motion picture film is not required for attending this workshop, it is highly encouraged that one at least study basic black & white negative processing prior to the workshop. Regardless, we will do everything possible to clarify any questions that you may have before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?
A: Yes, participants are encouraged to bring in previously processed film for use in contact printing. Additionally, participants should consider bringing in objects for photogramming as well.

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?
A: We unfortunately do not have any funds to provide scholarships, but we may be able to find volunteers to help you with accommodations. Please send us an inquiry at contact@processreversal.org

Q: I missed the opportunity to attend this workshop. Will you be running it again?
A: Since this is a one-off series of seminars, we technically won’t be able to offer this specific workshop again. However, we’re open to trying to organize a similar themed workshop, if the demand exist.

Additional Documents

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The Mirror: Reshaping & Lighting Film Emulsion (Balagan Films, Boston, MA)

mirror reshaping lighting film emulsion

Abstract – The Mirror: Reshaping & Lighting Film Emulsion

In this two day workshop, we will be exploring the anatomy of a film strip through a variety of physical and chemical phenomenons that will reshape, destroy and sculpt the films emulsion. Techniques such as reticulation, bleach etching and mirror toning will all be covered and applied to previously processed strips of film, followed by their analysis and interpretation on an optical printer. Additionally, issues concerning both the aesthetic and practical application of these techniques will be addressed through discussions and film screenings, providing participants with a grounds for establishing a sound working method for each process.

Film stock, chemistry and found footage will all be provided for the workshop, but participants may also considering bringing in their own footage keeping in mind that this is essentially a course on destroying film…

Attending the Workshop

Workshop Listing & Registration via balaganfilms.com

This workshop is being produced in conjunction with Balagan Films (Boston, MA) and will be occurring on February 22nd & 23rd between the hours of 12:00 PM – 8:00 PM, EST. Registration is limited to 8 participants. Balagan Films policies concerning workshop fees, refunds, liability, etc. apply to this workshop.

Balagan Films

There are no additional requirements for workshop attendance, but participants are encouraged to bring their own footage for experimenting with during the workshop.

Frequently Asked Questions

Q: I’ve never worked with motion picture film before. Will that limit my experience?
A: No, experience with motion picture film is not necessary when participating in the workshop and we will try and accommodate as many questions you have possible before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?
A: Yes, but there are a few things you should keep in mind when bringing in film for this workshop. First off, because we will be limited on time, your film should already be processed. This will not affect your ability to work with any of the techniques presented in the workshop per say. Second, it is recommended that you avoid bringing in a film of particular value or significance as we cannot guarantee that it will not be damaged or ruined beyond a usable extent. This is, after all, a workshop on essentially destroying film — so the choice is entirely yours.

If you do decide to bring film, there are a few things you should keep in mind: first, while it is possible to exercise some of the techniques reviewed in this workshop on all varieties of film, the majority of the techniques work best specifically with an image formed of silver. What this means is that black and white film (which is typically formed solely of silver) will be the most versatile stock to bring, where as color stocks will be more limited (as they typically have the silver removed in processing). The only exception to this is in regards to color film that has been bleach-bypassed, a specific lab technique which retains the silver in the dense regions of the color emulsion; if the utilization of color film in this workshop is of particular interest to you, than email us to discuss the topic further — additionally, we will be discussing it in the workshop itself.

As for film guage (i.e. super-8mm, 16mm, 35mm, 70mm, etc), we will have equipment to deal with all shapes and sizes of celluloid, so this should not be of a concern…

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?
A: Unfortunately, we do not offer scholarship and because this workshop is taking place abroad, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to look into couch surfing.

Q: I missed the opportunity to attend this workshop. Will you be running it again?
A: If the demand exist, absolutely. Send us an email or message requesting it.

Additional Documents

  • Workshop Agenda (concerning the structure and content of the workshop)
  • Workshop Proposal (concerning the workshops budget and equipment demands)
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Handmade Emulsion (Balagan Films, Boston, MA)

Handmade Emulsion – An Abstract

The process of handcrafting film emulsion is one that offers to the filmmaker an unprecedented degree of creative intervention and expressiveness that simply cannot be accomplished with commercial film stocks — by making emulsion, the filmmaker is given the ability to manipulate its shape, alter its chemical properties, apply it to non-traditional bases and adjust it in countless additional ways to create a unique, photosensitive material. As such, the process manifests new forms of dialogue within the film’s production, many of which are still waiting to be explored.

In this two day workshop, participants will study the craft of producing black and white, silver gelatin emulsion by formulating, mixing and coating emulsion onto cellulose acetate and various other materials. Theories concerning emulsion chemistry and emulsion production will also be explored in this workshop, providing participants with a foundation to develop their own processes and methodologies.

http://vimeo.com/77449068

Attending the Workshop

Workshop Listing & Registration via balaganfilms.com

This workshop is being produced in conjunction with Balagan Films (Boston, MA) and will be occurring on February 15th & 16th between the hours of 12:00 PM – 8:00 PM, EST. Registration is limited to 8 participants. Balagan Films policies concerning workshop fees, refunds, liability, etc. apply to this workshop.

Balagan Films

There are no additional requirements for workshop attendance, but participants are encouraged to bring their own footage for contact printing, or objects for photogramming.

Frequently Asked Questions

Q: I’ve never worked with motion picture film before. Will that limit my experience?
A: While previous experience with working with motion picture film is not required for attending this workshop, it is highly encouraged that one at least study basic black & white negative processing prior to the workshop. Regardless, we will do everything possible to clarify any questions that you may have before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?
A: Yes, in fact we encourage participants to bring some processed film for printing in the workshop and/or objects for photograming with.

Q: I would like to travel to attend the workshop, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?
A: Unfortunately, we do not offer scholarship and because this workshop is taking place abroad, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to look into couch surfing.

Q: I missed the opportunity to attend this workshop. Will you be running it again?
A: If the demand exist, absolutely. Send us an email or message requesting it.

For all other questions, email us at contact|a|processreversal.org, or use the contact form here.

Additional Documents

  • Workshop Agenda (concerning the structure and content of the workshop)
  • Workshop Proposal (concerning the workshops budget and equipment demands)
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Photochemical Initiatives – A Workshop with A Free School

photochemistry

Photochemical Initiatives – An Abstract:

In this two part workshop with A Free School, participants will discuss and explore the art of photochemistry for motion picture film by composing from a selection of raw chemicals a variety of rare tinters, toners, bleaches and emulsions.

Attending the Workshop [Dates, Fees & Requirements]:

This workshop is being produced by A Free School in Los Angeles, CA and will be taking place on two separate days: Chemical Mixology – October 13th, 2013, 2:00 PM – 6:00 PM PST; Handmade Emulsion – Ocotober 17th, 7:00 PM – 11:59 PM PST.

The workshop is free of charge but is limited to 2013-2014 students of AFS. There are no other requirements for participation.

AFS_logo

Selected Screenings:

We will be selecting films for exhibition during this workshop which utilize handmade emulsion as part of the dialect of their production. Not every work listed below will be shown in it’s entirety, or perhaps even at all. Additionally, only some will be shown in their native format:

  • Salt (Martha Jurksaitis)
  • At Hand (Andre Busti)

Resources:

Resources for this workshop can be downloaded here and general resources can be found in the resource section of our website.

Additionally, these books & articles are recommended for those who wish to explore the subject matter deeper, many of which can be secured at local libraries or on the web:

  • The Master Photographers Toning Book (Tim Rudman)
  • The Darkroom Cookbook (Steve G Anchell)
  • The Film Developing Cookbook (Steve G Anchell & Bill Troop)
  • Silver Gelatin: A User’s Guide To Liquid Photographic Emulsion (Martin Read & Sarah Jones)
  • Photographic Emulsion Chemistry (G.F. Duffin)
  • Tinting and Toning of Eastman Motion Picture Film and various other ephemera on Brian Pritchard website.

Frequently Asked Questions:

Q: I’ve never worked with motion picture film before. Will that limit my experience?

A: No, experience with motion picture film is not necessary when participating in the workshop and we will try and accommodate as many questions you have possible before, during or after the workshop.

Q: I have some film I would like to bring into the workshop to work with. Is this okay?

A: Yes, but there are a few things you should keep in mind when bringing in film for this workshop. First off, because we will be limited on time, your film should already be processed. This will not affect your ability to work with any of the techniques presented in the workshop per say. Second, it is recommended that you avoid bringing in a film of particular value or significance as we cannot guarantee that it will not be damaged or ruined beyond a usable extent. This is, after all, a workshop on essentially destroying film — so the choice is entirely yours.

If you do decide to bring film, there are a few things you should keep in mind: first, while it is possible to exercise some of the techniques reviewed in this workshop on all varieties of film, the majority of the techniques work best specifically with an image formed of silver. What this means is that black and white film (which is typically formed solely of silver) will be the most versatile stock to bring, where as color stocks will be more limited (as they typically have the silver removed in processing). The only exception to this is in regards to color film that has been bleach-bypassed, a specific lab technique which retains the silver in the dense regions of the color emulsion; if the utilization of color film in this workshop is of particular interest to you, than email us to discuss the topic further — additionally, we will be discussing it in the workshop itself.

As for film guage (i.e. super-8mm, 16mm, 35mm, 70mm, etc), we will have equipment to deal with all shapes and sizes of celluloid, so this should not be of a concern…

Q: I missed the opportunity to attend this workshop. Will you be running it again?

A: If the demand exist, absolutely. Send us an email or message requesting it.

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Frenkel Defects – Edition I (Black Hole Cinema, Oakland, CA)

Edition I – Process Reversal:

A short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris, France), The Double Negative Collective (Montreal, PQ), Cherry Kino (Leeds, UK) and The Handmade Film Institute (Boulder, CO). Filmmakers including Sarah Biagini, Andrew Busti, Taylor Dunne, Nicolas Rey, Kevin Rice, Robert Schaller, Martha Jurksaitis & Philippe Leonard.

Presented by Black Hole Cinematheque

Program Details:

Sucia – Robert Schaller (The Handmade Film Institute)

Schaller_Salish_Still

[5 minutes, 1.33:1, silent, B&W]

“(mostly) shot with my handmade pinhole camera, hand-processed 7363, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…”

Salt – Martha Jurksaitis

Cherry_Salt_NewStill_1

[16mm, 8 minutes, 1.33:1, Tungsten]

A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks, Salt is a love letter to film and to the churning, crashing, passionate sea. The opening symbol is the alchemical symbol for salt.

I Swim Now –  Sarah Biagini (Process Reversal)
Biagini_Swim_NewStill_2
[16mm, 8.5 minutes, 1.33:1, optical sound, B&W]

I Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop, a stewardess on board all three sister ships of the White Star Line – the Olympic, the Titanic, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations.

Terminus for You – Nicolas Rey (l’Abominable)

Terminus

[16mm, 10 minutes, 1.33:1, optical sound, B&W]

“Terminus for you, by Nicolas Rey, takes us on a strange journey. That of passengers in the Paris metro, moving from one platform to another, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words, titles torn from posters, are interspersed between these fleeting encounters; love, solitude, couples, etc… In this short visual essay on the borderline between the documentary and the avant-garde film, Nicolas Rey freely combines painting, photography and cinema and reveals a passion for reality and a love of humanity.”

Bertrand Bacqué – Visions du Réel (Nyon) Catalog 1997

At Hand – Andrew Busti (Process Reversal)

Busti_At_Hand_Still

[16mm, 9 minutes, 1.33:1, optical sound, B&W]

An exorcism, an exploration, and an unveiling.

A subconscious landscape of a withering relationship.

Cornmother – Taylor Dunne (Process Reversal)

Dunne_Cornmother_NewStill_2

[6 minutes, 1.33:1, silent, Tungsten]

A single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman, The Corn and Tobacco Mother.

Perceptual Subjectivity – Philippe Leonard (Double Negative Collective)

Phil_Perceptual_Subjectivity_Still

[6 minutes, 1.33:1, optical sound, B&W]

Ideas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts.

Peach – Martha Jurksaitis
Peach_Martha_Still_1
[16mm, 11.5 minutes, 1.33:1, silent, Tungsten]

Synaesthesia is an experience of cross-modal sensuality – ‘hearing pink’, ‘seeing green’, tasting shapes or feeling sounds. I think we are all latently synaesthetic, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal, artisanal and ethical way, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’.

Sanctuary – Kevin Rice (Process Reversal)

Rice_Sancturary_NewStill_2

[3 minutes, 1.33:1, silent, Tungsten]

(no description)

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Frenkel Defects – Edition I (ATA, San Francisco, CA)

Edition I – Process Reversal:

A short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris, France), The Double Negative Collective (Montreal, PQ), Cherry Kino (Leeds, UK) and The Handmade Film Institute (Boulder, CO). Filmmakers including Sarah Biagini, Andrew Busti, Taylor Dunne, Nicolas Rey, Kevin Rice, Robert Schaller, Martha Jurksaitis & Philippe Leonard.

 Presented by Artists’ Television Access

ATA

Program Details:

Sucia – Robert Schaller (The Handmade Film Institute)

Schaller_Salish_Still

[5 minutes, 1.33:1, silent, B&W]

“(mostly) shot with my handmade pinhole camera, hand-processed 7363, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…”

Salt – Martha Jurksaitis

Cherry_Salt_NewStill_1

[16mm, 8 minutes, 1.33:1, Tungsten]

A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks, Salt is a love letter to film and to the churning, crashing, passionate sea. The opening symbol is the alchemical symbol for salt.

I Swim Now –  Sarah Biagini (Process Reversal)
Biagini_Swim_NewStill_2
[16mm, 8.5 minutes, 1.33:1, optical sound, B&W]

I Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop, a stewardess on board all three sister ships of the White Star Line – the Olympic, the Titanic, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations.

Terminus for You – Nicolas Rey (l’Abominable)

Terminus

[16mm, 10 minutes, 1.33:1, optical sound, B&W]

“Terminus for you, by Nicolas Rey, takes us on a strange journey. That of passengers in the Paris metro, moving from one platform to another, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words, titles torn from posters, are interspersed between these fleeting encounters; love, solitude, couples, etc… In this short visual essay on the borderline between the documentary and the avant-garde film, Nicolas Rey freely combines painting, photography and cinema and reveals a passion for reality and a love of humanity.”

Bertrand Bacqué – Visions du Réel (Nyon) Catalog 1997

At Hand – Andrew Busti (Process Reversal)

Busti_At_Hand_Still

[16mm, 9 minutes, 1.33:1, optical sound, B&W]

An exorcism, an exploration, and an unveiling.

A subconscious landscape of a withering relationship.

Cornmother – Taylor Dunne (Process Reversal)

Dunne_Cornmother_NewStill_2

[6 minutes, 1.33:1, silent, Tungsten]

A single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman, The Corn and Tobacco Mother.

Perceptual Subjectivity – Philippe Leonard (Double Negative Collective)

Phil_Perceptual_Subjectivity_Still

[6 minutes, 1.33:1, optical sound, B&W]

Ideas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts.

Peach – Martha Jurksaitis
Peach_Martha_Still_1
[16mm, 11.5 minutes, 1.33:1, silent, Tungsten]

Synaesthesia is an experience of cross-modal sensuality – ‘hearing pink’, ‘seeing green’, tasting shapes or feeling sounds. I think we are all latently synaesthetic, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal, artisanal and ethical way, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’.

Sanctuary – Kevin Rice (Process Reversal)

Rice_Sancturary_NewStill_2

[3 minutes, 1.33:1, silent, Tungsten]

(no description)

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Frenkel Defects – Edition I (Cineworks, Vancouver, BC)

Edition I – Process Reversal:

A short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris, France), The Double Negative Collective (Montreal, PQ), Cherry Kino (Leeds, UK) and The Handmade Film Institute (Boulder, CO). Filmmakers including Sarah Biagini, Andrew Busti, Taylor Dunne, Nicolas Rey, Kevin Rice, Robert Schaller, Martha Jurksaitis & Philippe Leonard.

 Presented by Cineworks

Program Details:

Sucia – Robert Schaller (The Handmade Film Institute)

Schaller_Salish_Still

[5 minutes, 1.33:1, silent, B&W]

“(mostly) shot with my handmade pinhole camera, hand-processed 7363, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…”

Salt – Martha Jurksaitis

Cherry_Salt_NewStill_1

[16mm, 8 minutes, 1.33:1, Tungsten]

A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks, Salt is a love letter to film and to the churning, crashing, passionate sea. The opening symbol is the alchemical symbol for salt.

I Swim Now –  Sarah Biagini (Process Reversal)
Biagini_Swim_NewStill_2
[16mm, 8.5 minutes, 1.33:1, optical sound, B&W]

I Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop, a stewardess on board all three sister ships of the White Star Line – the Olympic, the Titanic, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations.

Terminus for You – Nicolas Rey (l’Abominable)

Terminus

[16mm, 10 minutes, 1.33:1, optical sound, B&W]

“Terminus for you, by Nicolas Rey, takes us on a strange journey. That of passengers in the Paris metro, moving from one platform to another, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words, titles torn from posters, are interspersed between these fleeting encounters; love, solitude, couples, etc… In this short visual essay on the borderline between the documentary and the avant-garde film, Nicolas Rey freely combines painting, photography and cinema and reveals a passion for reality and a love of humanity.”

Bertrand Bacqué – Visions du Réel (Nyon) Catalog 1997

At Hand – Andrew Busti (Process Reversal)

Busti_At_Hand_Still

[16mm, 9 minutes, 1.33:1, optical sound, B&W]

An exorcism, an exploration, and an unveiling.

A subconscious landscape of a withering relationship.

Cornmother – Taylor Dunne (Process Reversal)

Dunne_Cornmother_NewStill_2

[6 minutes, 1.33:1, silent, Tungsten]

A single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman, The Corn and Tobacco Mother.

Perceptual Subjectivity – Philippe Leonard (Double Negative Collective)

Phil_Perceptual_Subjectivity_Still

[6 minutes, 1.33:1, optical sound, B&W]

Ideas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts.

Peach – Martha Jurksaitis
Peach_Martha_Still_1
[16mm, 11.5 minutes, 1.33:1, silent, Tungsten]

Synaesthesia is an experience of cross-modal sensuality – ‘hearing pink’, ‘seeing green’, tasting shapes or feeling sounds. I think we are all latently synaesthetic, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal, artisanal and ethical way, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’.

Sanctuary – Kevin Rice (Process Reversal)

Rice_Sancturary_NewStill_2

[3 minutes, 1.33:1, silent, Tungsten]

(no description)

/0 Comments/by