Black Box Shorts 2: Materials and Materiality
Exploring the physical properties of the filmstrip has been one of the most enduring concerns of experimental film history.
Please note this screening may include strobe effects.
In the heady rush to embrace the vast spectrum of possibilities opened up by new digital technologies, we forget just how magical a medium celluloid is. A fragile body that wears the traces of the artist’s hand and the scratches of its past life, the filmstrip speaks of presence, time and materiality. This programme presents a selection of new works that draw attention to film as a physical entity and celebrate filmmaking as an artisanal practice.
Along with the Phoenix
Conceived as a free cinematic improvisation based on the myth of the phoenix, this film continually draws the eye to the texture of the image.
Director: Masha Godovannaya
Producer: Esther Urlus
Editor: Masha Godovannaya
Applying acrylic paints and chemicals directly to the filmstrip creates fantastical landscapes of vibrant colours and textures.
Director: Scott Nyerges
Sound Production: Mike Vernusky
At the interstice between materiality and immateriality, direct work on the filmstrip is digitally rendered, creating tension between surface and depth.
Director: Kangmin Kim
Producer: Kangmin Kim
Scriptwriter: Kangmin Kim
Editor: Kangmin Kim
DoP: Kangmin Kim
Production Designer: Kangmin Kim
Sound Production: Minkyu Kim
Music: Minkyu Kim
Film Quartet / Polyframe
Using footage from a range of Hollywood films, this “cinematographic bomb” literally cuts into the concept of the unified frame.
Director: Antoni Pinent
Producer: Antoni Pinent
Editor: Antoni Pinent
DoP: Antoni Pinent
Film- Landscape- People: an Exquisite Corpse
Inspired by the Surrealist game and presented as a triptych, this self-reflexive film was exposed three times and hand-processed.
Directors: Angela Joosse, Marcia Connolly
Producers: Angela Joosse, Marcia Connolly
Editor: in camera editing
DoP: Angela Joosse, Marcia Connolly
Production Designer: N/A
Sound Production: Jesse Laine
“George was an attempt to reconsider the basic components of my approach to filmmaking and boil them down to their bare essentials.”
Director: Luke Fowler
A collage of found footage in which shots of insects in close-up are intercut with snippets of a documentary about woodcutters.
Director: Cecile Fontaine
Fragmented images – alternating between positive and negative, complementary and contradictory – tell the story of women in Kabylia.
Director: Frederique Devaux
Film sprockets directly stenciled onto the filmstrip steal the show in this self-conscious nod to the renowned painter.
Director: Steven Andrew McIntyre
Producer: Steve McIntyre
Editor: Steve McIntyre
A projection anomaly is exploited to phantasmic effect, as a lone woman in the Prague underground hovers between the real and the imaginary.
Director: Tim Sidell
Editor: Tim Sidell
DoP: Tim Sidell
Sound Production: Tim Sidell, Adam Bushell
Music: Adam Bushell
Ghostly black and white images flutter across the screen, continually drawing attention to the hand-painted surface of the celluloid.
Director: Kerry Laitala
Producer: Kerry Laitala
Editor: Kerry Laitala
DoP: Kerry Laitala
An exploration of the viewer's position – in this case by manipulating found television footage – whilst watching a baseball game, as in the 1910 poem to which the title refers.
Director: James Cole
Producer: James Cole
Editor: James Cole
DoP: James Cole
The Sound of Crickets
In the spirit of Stan Brakhage’s Mothlight, this work lets nature speak through the material of film.
Director: Justin Chouinard
Producer: Justin Chouinard
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