SPECIAL PROGRAMME
CROWDFUNDING 2023
A program on classic found footage film focusing on the essential quality of seeing. An experience that places the viewer on the threshold between the vertiginous disposition to film perceived as an act of exteriority, nonhuman attraction, autonomous force, and the intellectual wonder in observing its mechanism.
G.B.
BUY TICKET
CROWDFUNDING 2023
Spinning Marvel
41 minsA program on classic found footage film focusing on the essential quality of seeing. An experience that places the viewer on the threshold between the vertiginous disposition to film perceived as an act of exteriority, nonhuman attraction, autonomous force, and the intellectual wonder in observing its mechanism.
G.B.
BUY TICKET
Sat June 24
21:00 / ACUD STUDIOAl Razutis
LUMIERE'S TRAIN VISUAL ESSAYS N°1
Canada, 1979, 7' 30, 16mm, sound
The subject of the first essay is cinema itself: an apparatus of representation wherein fact and fiction are recreated. As such, the pro-filmic facts are necessarily drawn from two of cinema's "pioneers": Louis and Auguste Lumière and Abel Gance (La Roue), with additional material provided from a Warner Brothers featurette, Spills for Thrills.
From the Light Cone website.
David Rimmer
BRICOLAGE
Canada, 1985, 10' 00, 16mm, sound
Rimmer uses a sequence from a TV movie and repeats it in slow motion: the sound gradually recedes from the image. The focus shifts to the soundtrack as the viewer anticipates the reunion of the image and sound.
Translated from the French version of the Light Cone website.
Malcolm Le Grice
BERLIN HORSE
UK, 1970, 9' 00, 16mm, sound
This film is largely filmed with an exploration of the film medium in certain aspects. It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences. The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later re-filmed in various ways from the screen in 16mm b/w. The b/w material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early b/w newsreels of a similar subject in the same way. As a two screen film the second screen has a b/w version of the whole film.
From the Light Cone website.
Chris Gallagher
MIRAGE
Canada, 1983, 7' 00, 16mm, sound
Typical imagery of a naughty wahine dancing while removing her sarong is looped and superimposed on images associated with Hawaii such as fish, surfers, volcanoes and the Kodak Hula Show. The sound is a loop from the Elvis song “Dreams Come True in Blue Hawaii” and the effect is haunting with a touch of humour. The juxtaposition of these three elements parodies a travel film enticing one to the islands by associating sensuality and sexuality with everything from Kahunas to Pearl Harbor. It is a kind of pop, twisted mantra invoking an exotic space that perhaps only exists in a dream or nightmare.
From the Light Cone website.
David Rimmer
VARIATIONS ON A CELLOPHANE WRAPPER
Canada, 1970, 8' 00, 16mm, sound
The film is based on a loop of black and white footage (taken from a National Film Board of Canada documentary), in which a woman in a factory raises and lowers a large sheet of cellophane. As the woman repeats the gesture over and over again, the image undergoes a series of subtle but increasingly dramatic transformations.
Wees William, Recycled Images, The Art and Politics of Found Footage Films, 26.