filmkoop wien presents
Hand and Machine, films by Richard Tuohy & Dianna Barrie
Cinema was the first inescapably mechanical art. But in this post-mechanical age, the traditional apparatus of cinema has all to rapidly been deemed obsolete and primitive. Yet the handing over of industrial machinery to anti-industrial users represents one of the prime creative opportunities for re-appraising and re-interpreting the nature of ourselves as transformed by the age of machines.
Post mechanical age, the humanness of the machine can be made evident. Post mechanical age, machine craft is the new hand craft. This program presents seven recent film works from Australian diy cine experimentalists Richard Tuohy and Dianna Barrie exploring the primitive apparatus of cinema and the relation between hand and machine.
- Ginza Strip (2014, 9 minutes, 16mm, Richard Tuohy and Dianna Barrie)
The Ginza of fable and memory. This is the first film I have finished using the 'chromaflex' technique that we developed. This is a very much hands on colour developing procedure that allows selected areas of the film to be colour positive, colour negative, or black and white.
- Etienne’s Hand (2011, 13 minutes, 16mm, Richard Tuohy)
A movement study of a restless hand. Made from one five second shot. Sound constructed from an old French folk tune played on a hand cranked music box.
- Crossing (Richard Tuohy 2016 16mm 11 min)
Across the sea. Across the street. Cross processed images of fraught neighbours Korea and Japan in a pointillist sea of grain.
- Last Train (2016, 12 minutes, 16mm, Dianna Barrie and Richard Tuohy)
Found in the (now possibly lost) film archive at Lab Laba Laba, footage from a trailer for the 1981 Indonesian propaganda film 'Kereta Api Terakhir' (The Last Train) melts into a soup of chemigrammed perforations. A film about the silence that follows the unspeakable; about blurred visions, untold histories and inaccessible archives.
- Pancoran (2017, 9 minutes, 16mm, Richard Tuohy and Dianna Barrie)
Jakarta traffic moves with the harmonious chaos of complex self organising entities everywhere. Through contact printer matteing techniques this mass transport becomes denser and denser until only the fluid futility of motion/motionlessness remains. Jakarta traffic stands as proof of the paradox of motion.
- Seoul Electric (2012, 7 minutes, 16mm, Richard Tuohy)
A North Asian metropolis. Electricity wires draped like thick webs adorn the streetscape. Explosive sparks of colour electrify the frame. Filmed in Seoul in black and white. Colourised during processing using coloured torch light.
- Blue Line Chicago (2014, 10 min, 16mm, Richard Tuohy and Dianna Barrie)
Architectural abstractions of the second city.
- Inside the Machine (2016, 12 minutes, 3 x 16mm, Richard Tuohy and Dianna Barrie)
Pay as you wish.
Filmmakers in attendance.