The motif of the loop, or more precisely repetition with variations, is one of the formal and thematic principles recurrent in experimental cinema, one of its major functions being to defamiliarize the gaze in a strange paradox. This selection of films offers an overview of different techniques and conceptual variations of this fascinating and troubling motif.
Like a scientific observatory, this session brings together a series of experimental films that set out to capture the ephemeral forms, the variations in appearance of things, the modulation of light and the transformations of colour in the landscape.
Using different filming techniques (static shots, time lapse or filters) and various treatments of the film in the laboratory (solarization, tinted, toning or overprinting), the images become optical illusions of the natural world, moving canvases that are transformed and become highly expressive.
On the occasion of the arrival in Paris of the filmmaker Daïchi Saïto, who just won the Tiger Award at the Rotterdam International Film Festival with his new film Engram of Returning, we invite you to an experimental movie night Thursday, February 11, 2016 at 20h at the Finnish Institute.
The 35mm format is the most used of the silver film cinema. Considered the "standard format", it measures 35 millimeters wide and has in its edges rectangular perforations to ensure its traction by the various mechanisms of shooting and projection.
Since 1985, publisher Paris Expérimental has become a singular meeting point between experimental cinema and its history. With around fifty landmark publications and events, this publishing house has contributed in France to the knowledge and recognition of experimental film forms that have often been marginalised.
Comment vivent et travaillent, à l' «ère du numérique», les cinéastes expérimentaux? Qu’en est-il de leur attachement à la matérialité de l'objet-film? Quels sont leurs outils, leurs rapports à la création, leurs manières de penser, de fabriquer et d'habiter les images et les sons? Comment financent-ils leurs projets? Quel regard portent-ils sur leur parcours et sur les mutations décisives que connait aujourd'hui le cinéma, y compris «expérimental», envisagé dans sa dimension esthétique, pratique, technique, économique et institutionnelle?
Entretiens avec Martin Arnold, Frédérique Devaux, Olivier Fouchard, Ken Jacobs, Christian Lebrat, Rose Lowder, Nicolas Rey, Silvi Simon, José Antonio Sistiaga.
Celluloid-based filmmaking is alive and well in Europe, thanks to a network of film labs dedicated to both the preservation of technology and cinematic experimentation! This two-night program on October 27th and 28th features work from three of these cooperatives: L'Abominable in La Courneuve, France; Labor Berlin in Berlin, Germany; and Labo Bruxelles in Brussels, Belgium.
While the artists associated with these labs produce work in a variety of styles, the films selected for these two evenings are similar in that they demonstrate extremes of the photographic process. In Mahine Rouhi and Olivier Fouchard's Tahousse, and Emmanuel Lefrant’s Parties visible et invisible d'un ensemble sous tension, filmed landscapes are manipulated in color and texture toward otherworldliness and abstraction respectively. In Els van Riel's Gradual Speed, winner of the Gus Van Sant Award for Best Experimental at the 2014 Anna Arbor Film Festival, the image in each vignette appears through time much like a photograph developing while the hum and crackle of vibrating dust erupts on the optical track.
Everyday millions of hand-held self-portraits, or ‘selfies’, are uploaded on to the internet. With today’s personal technologies, private self-representations-made-public seem symptomatic of Guy Debord's ‘Society of the Spectacle’ or Jean Baudrillard’s ‘Simulacra and Simulation’. Yet for decades, experimental filmmakers and video artists have interrogated questions of self-identity and -referentiality. With the performing body as the site of action produced in relation to the film apparatus and video system, they offer a powerful critique of the male gaze and, in turn, the seeming narcissism at the center of today’s ‘selfie’ culture. A diverse range of artists and traditions have thereby subversively taken up subjective, first-person cinema and issues of self-performance in order to explore questions of identity, power, memory, and the construction of the self. ‘Mirror Me’ presents a selection of musings on the mirroring of the ‘self’ in self-reflexive film and video auto-portraits and personal diary films in order to weave together something of a ‘pre-history’ of the ‘selfie’.
Curated by Pascal Richard and Christopher Zimmerman
The DIFFERENT CINEMA Vol. 2 DVD assembles eight films and videos by artists presented during the 6th Different Cinema Festival of Paris. This extraordinary compilation is a mix of digital video and celluloid film that tackles the subjects of femininity, investigation, and the search for identity. These films are created by artists whose inspiration stems from the tradition of cinema as well as cutting-edge contemporary art.
Films which are expressive, compelling, and of high artistic quality - FILMTHREAT.COM
Different Cinema volume 2, recently published by lowave, is a showcase for experimental shorts screened in Paris in the 6th edition of the Festival des Cinémas Différents on December 2004. This DVD combines both film and video works in a varied compilation of less-known contemporary works.