This special session is the launch of the "Re-engineering the industry" program, dedicated to a Mire laboratory machine, the Debrie contact printer, which makes it possible to copy 16mm film. In the coming months, masterclass, workshop and artist residency will aim at a dialogue between artists and technicians in order to perpetuate and develop the use of machinery abandoned by the film industry and to reappropriate its use for artistic purposes.
During this opening session, which brings together discussion and projection, we will explore the work conducted at the Cinemateca Portugesa laboratory with a masterclass conducted in Mire by two of its technicians, and we will see films, from the beginnings of cinema to the present day, which are all examples of the creative possibilities opened up by the access of filmmakers to the copying machinery.
To open this session, Quatres Vues Photographiques Animees du Cinématographe Lumière. In the early days of cinema, the Cinématographe Lumière was both a camera, a printer and a projector. The copying function is inherent to the "original" machinery of the cinema. Although today's camera, printer and projector have become separate, these devices still work on the same principles.
- (64) Mauvaises Herbes (Camera: Auguste Lumière, 16 January 1896, digital file, b&w, silent, 0’56)
- (3) Aquarium (Camera: Louis Lumière, 22 March 1896, digital file, b&w, silent, 0’54)
- (17) Bicycliste (Camera: unknown, Winter 1896-1897, digital file, b&w, silent, 0’48)
- (1036) Interieur D’Une Imprimerie (tirage d’une épreuve) (Camera: unknown, 6 August 1899, digital file, b&w, silent, 0’40)
- Building Up and Demolishing the Star Theatre (Frederick S. Armitage for the American Mutoscope & Biograph Co., 1901, file on server, b&w, silent, 3' 39)
- Little Dog For Roger (Malcolm Le Grice, 1968, 16 mm, b&w, sound, 13' 00)
- Les Tournesols Colorés (Rose Lowder, 1983, 16 mm, colour, silent, 3' 00)
- Rainbow Dance (Len Lye (1936, 16 mm, colour, sound, 5' 00)
- Broken Horses (Peter Miller, 2007, 16 mm, b&w, silent, 3' 00)
- Dresden Dynamo (Lis Rhodes, 1971, 16 mm, colour, sound, 5' 00)
- Etienne’s Hand (Richard Tuohy, 2011, 16 mm, b&w, sound, 13' 00)
- Bricolage (David Rimmer, 1985, 16 mm, colour, sound, 10' 00)