Screening Programme for kunstvlaai, Amsterdam
SAT 24.11.2012
19:45 WORM.FILMWERKPLAATS: HAND-MADE 16MM FILM PROGRAM
19:45 WORM.FILMWERKPLAATS: HAND-MADE 16MM FILM PROGRAM
Initiative: Worm.filmwerkplaats
Location: Doubling Time (Artists' cinema)
Time: 19:45 - 21:00
Time: 19:45 - 21:00
Screening with a conversation between Worm.filmwerkplaats and Kunstvlaai curator Fleur van Muiswinkel
Esther Urlus, Deep Red (7:00)
Deep Red is an investigation into additive colour mixing on film. Handmade by a d-i-y silkscreen printing technique. Starting point are on black and white hi-con filmed trees shorn of their leaves. As if they're the reminiscent of branches seen flashing past in the night from the back seat of a car. Transformed into thirty six layer deep technicolour.
Klara Ravat, Ai Mi (1:30). Direct animation with printer sticker sheets taped direct on transparent film. A transfer of poses on Renaissance paintings.
Ferenc Sebök, Gebouwen (2:00). Made during a workshop by Tony Hill (UK). The workshop was about building (DIY) tools to get special effects. The film is made animation wise frame by frame. Going from far left 1 frame to far right 1 frame.
Daan de Bakker, Pinhole (5.:00). Daan make's camera films.All effects are in-camera effects. Shown are two films shot pinhole style: The camera has no lens, just a tiny little hole in a piece of tin-foil. Including some double exposure with different coloured filters in front of the pinhole.
Joost van Veen, Interlude (2:45). Originally shot on Super 8 in the Rotterdam zoo for a filmwerkplaats installation project. Blown-up to 16mm using cheap high contrast b/w material, treated with a no longer available Tetenal photographic kit officially made for reversing photographic papers; used on film, it does weird things. This film is entirely made in the filmwerkplaats; first Joost made a sound negative on our special printer, put this undeveloped material into the optical printer (J-K) and refilmed his material. The film was ultimately developed as b/w positive. It therefore only runs 2.30 minutes: the maximum we can hand-develop in a 30 meter tank. The film won the first price at the Rotterdam Film Festival.
Esther Urlus, Idyll (6:00). Using a printing technique in which negative and positive are printed on the same piece of color material. The originals are black and white. Esther has been working for several years on color films based on original b/w footage, reinventing old film techniques from the beginning of (analog) film where color only could be created with experiments on b/w.
Dirk de Bruyn, Bridges (4:00). Australian artist Dirk de Bruyn knows how to make “cinema without costs”. Since there is few 16mm equipment available for artists in Australia (everything has to be shipped in and is therefore costly), he buys "found footage" from Ebay, bleaches away the original image and makes direct animation-style films using tape, ink, stamps etc.
John Price, Portraits Project (2:00). Made for the “Starting from Scratch” program of the Rotterdam Film Festival in 2008. Filmmakers were invited to make a portrait of fellow filmmakers on 16mm. John created a self-portrait in his Rotterdam hotel room. Working as a camera operator for commercial film productions, he always shoots his work on left-over materials from his regular jobs or cheap print material that is not meant to be used in a camera. He always films subjects close to himself, using in-camera editing and hand processing. He could be called an obsessive filmmaker who mostly sees the world through his camera’s viewfinder.
Lichun Tseng, Grass Tree (2:00). Shot on high-contrast b/w material to reach the extremes of black and white. All effects like double exposures and dissolves were done in-camera (on a Bolex wind-up).
Ingrid van den Boogaard, Providence (1:30). The negative of this film, shot during a camera try-out workshop, appeared to be a completely black. After scratching it so that it would gain at least some kind of visuals, the positive print came out with a romantic image that had been seen by the camera, latent on the footage, but too dark on the negative. An example of the enormous flexibility of film.
Helene Martin, Running Time (6:30). Made entirely in the darkroom with no equipment whatsoever except a torchlight and some color filters. Found footage originals. Won the jury prize at the $100 Film Festival.
Jutu van der Made, Pony Girl/NYC (pinhole film) (3:00). Made with Robert Schaller’s pinhole camera; a camera made from scrap materials. Jutu got obsessed with this DIY camera and has begun to make a whole pinhole film oeuvre.
Peter Max, Zeebra (2:00). Mathematical composition of a street crossing, with a certain number of frames filmed forward and some frames filmed backwards so that superimpositions appear.
Christelle Gualdi, Color Writing Me Out (6:30). The soundtrack is from her close friend’s band. The film is made by freaking with our optical (J-K) printer late at night. Good that I wasn't there because it looks like she quite mishandled our precious printer. The original footage she used is from a film by Joris Ivens, a Dutch master of film. The film was found in the garbage.
Deep Red is an investigation into additive colour mixing on film. Handmade by a d-i-y silkscreen printing technique. Starting point are on black and white hi-con filmed trees shorn of their leaves. As if they're the reminiscent of branches seen flashing past in the night from the back seat of a car. Transformed into thirty six layer deep technicolour.
Klara Ravat, Ai Mi (1:30). Direct animation with printer sticker sheets taped direct on transparent film. A transfer of poses on Renaissance paintings.
Ferenc Sebök, Gebouwen (2:00). Made during a workshop by Tony Hill (UK). The workshop was about building (DIY) tools to get special effects. The film is made animation wise frame by frame. Going from far left 1 frame to far right 1 frame.
Daan de Bakker, Pinhole (5.:00). Daan make's camera films.All effects are in-camera effects. Shown are two films shot pinhole style: The camera has no lens, just a tiny little hole in a piece of tin-foil. Including some double exposure with different coloured filters in front of the pinhole.
Joost van Veen, Interlude (2:45). Originally shot on Super 8 in the Rotterdam zoo for a filmwerkplaats installation project. Blown-up to 16mm using cheap high contrast b/w material, treated with a no longer available Tetenal photographic kit officially made for reversing photographic papers; used on film, it does weird things. This film is entirely made in the filmwerkplaats; first Joost made a sound negative on our special printer, put this undeveloped material into the optical printer (J-K) and refilmed his material. The film was ultimately developed as b/w positive. It therefore only runs 2.30 minutes: the maximum we can hand-develop in a 30 meter tank. The film won the first price at the Rotterdam Film Festival.
Esther Urlus, Idyll (6:00). Using a printing technique in which negative and positive are printed on the same piece of color material. The originals are black and white. Esther has been working for several years on color films based on original b/w footage, reinventing old film techniques from the beginning of (analog) film where color only could be created with experiments on b/w.
Dirk de Bruyn, Bridges (4:00). Australian artist Dirk de Bruyn knows how to make “cinema without costs”. Since there is few 16mm equipment available for artists in Australia (everything has to be shipped in and is therefore costly), he buys "found footage" from Ebay, bleaches away the original image and makes direct animation-style films using tape, ink, stamps etc.
John Price, Portraits Project (2:00). Made for the “Starting from Scratch” program of the Rotterdam Film Festival in 2008. Filmmakers were invited to make a portrait of fellow filmmakers on 16mm. John created a self-portrait in his Rotterdam hotel room. Working as a camera operator for commercial film productions, he always shoots his work on left-over materials from his regular jobs or cheap print material that is not meant to be used in a camera. He always films subjects close to himself, using in-camera editing and hand processing. He could be called an obsessive filmmaker who mostly sees the world through his camera’s viewfinder.
Lichun Tseng, Grass Tree (2:00). Shot on high-contrast b/w material to reach the extremes of black and white. All effects like double exposures and dissolves were done in-camera (on a Bolex wind-up).
Ingrid van den Boogaard, Providence (1:30). The negative of this film, shot during a camera try-out workshop, appeared to be a completely black. After scratching it so that it would gain at least some kind of visuals, the positive print came out with a romantic image that had been seen by the camera, latent on the footage, but too dark on the negative. An example of the enormous flexibility of film.
Helene Martin, Running Time (6:30). Made entirely in the darkroom with no equipment whatsoever except a torchlight and some color filters. Found footage originals. Won the jury prize at the $100 Film Festival.
Jutu van der Made, Pony Girl/NYC (pinhole film) (3:00). Made with Robert Schaller’s pinhole camera; a camera made from scrap materials. Jutu got obsessed with this DIY camera and has begun to make a whole pinhole film oeuvre.
Peter Max, Zeebra (2:00). Mathematical composition of a street crossing, with a certain number of frames filmed forward and some frames filmed backwards so that superimpositions appear.
Christelle Gualdi, Color Writing Me Out (6:30). The soundtrack is from her close friend’s band. The film is made by freaking with our optical (J-K) printer late at night. Good that I wasn't there because it looks like she quite mishandled our precious printer. The original footage she used is from a film by Joris Ivens, a Dutch master of film. The film was found in the garbage.
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