expansive cinema at the agnsw

wim wenders film

passing along this info!

Programme at the AGNSW for all fans of experimental cinema
Saturday 16 June 2pm
Saturday 23 June 12noon
Saturday 7 July 12noon
Saturday 21 July 2pm
Domain Theatre, Lower Level 3

This series focuses on the enduring traditions and lasting influence of experimental and avant-garde filmmaking. This is so-called formalist cinema, using film in ways that are comparable to the aims of modern painting and sculpture, foregrounding the medium itself, emphasising the film strip, the frame, montage, projection, and even the chemical and technological processes. The rejection or subversion of Hollywood-type storytelling generates works with a loose or non-linear narrative, making unexpected dislocations of time and space, permitting personal explorations and poetic or ironic juxtaposition. Taken together, these journeys of colour and sound demonstrate the sheer dynamism of experimental cinema over the past 85 years.
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Research on moving image art in Japan

Some information I have discovered while here in Yokohama:

MIACA – Moving Image Archive of Contemporary Art
http://www.miaca.org/english/news/index.html

Videoart Center, Tokyo
http://www.vctokyo.org/j/about/
(Japanese – Google for a web page translation Japanese to English)

Art Autonomy Network
http://www.a-a-n.org/top_e.htm

And for the Expanded Cinema heads, Jun’ichi OKUYAMA For example:

Cut-Off movie, 1969 16mm 9min. A film 9 minutes in length was cut in several places beforehand, those severed places covered with tree leaves and condoms and the like. When projected, naturally those places cause an interruption in projection, and the filmmaker himself explains why the accident occurred. This projection/ performance was first shown in 1969.
http://www.geocities.jp/okujun16/page016.html

Reference for history of Japanese experimental film – 2004 film program at the Pacific Film Archive, LA
http://ieas.berkeley.edu/events/2004.10.19-26.html

MIKE LEGGETT: expanded screen, performed film, structural film 1970-1981

mike leggett screening at acp

[update – there is a review article of this event at Realtime magazine here.]

Teaching and Learning Cinema presents:
MIKE LEGGETT: expanded screen, performed film, structural film 1970-1981
Saturday 28 April 6.30pm-10pm

[view installations of Unword and Vistasound from 6pm-730pm, film screenings from 730pm-9.30pm]

Australian Centre for Photography (ACP)
257 Oxford Street, Paddington NSW 2021
T: 02 9332 1455
F: 02 9332 6104

The TLC continues its work drawing out the primary sources in artists’ film in Australia with an evening with Mike Leggett. Linking Sydney to the heady days of seventies London where he was a founding member of the London Filmmakers’ Co-op, this event explores Leggett’s 1970s structural films, his 1980s media-performance works and his ongoing interactive art research in Sydney.

More Information: louise[at]teachingandlearningcinema[dot]org

read below for full info…
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Remoscopes

Last night down at the ourmedia film screenings, they played some excellent “remoscopes” by a Japanese collective. The idea of remoscopes is to follow the “lumiere rules”:

Lumieré Rule (six conditions)
no effect
no edit
maximum 1 minute
fixed camera
silence
no zoom

Some beautiful works came out of it, full of consciousness of time passing and the beauty of the ordinary. I’d love to see more, and it’d be so easy to organise a night of home grown remoscope!

THIS TIME: TLC Screening at SYDNEY

tlc this time flyer

The Teaching & Learning Cinema invites you to “THIS TIME“, a film screening this Sunday, April 1st, 2007 6.30pm for a 7pm start at ˜Sydney”, Cleveland St (next to Fatima’s) (see http://officialsydney.com)
The screening follows along from a residency that Lucas Ihlein and Louise Curham have been doing in the majestic Track 12 at Performance Space’s new home at Carriageworks.
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Mike L: notes from Long Film

long film image from mike L

A few folks who we invited to experience our private “screening” of Long Film for Ambient Light have begun to filter back with their thoughts after the event.

Mike and Deborah visited in its last half hour, late Saturday morning the 17th of March.

Mike sent us these thoughts: Continue reading “Mike L: notes from Long Film”

Flemo: notes from Long Film

lucas and flemo
[Lucas and Flemo about 9pm on Friday 16 March, photo by Peter Shaw taken from outside Track 12]

A few folks who we invited to experience our private “screening” of Long Film for Ambient Light have begun to filter back with their thoughts after the event. First cab off the rank is Flemo.

Thanks for the invite to say something, although – at this stage – I’m unsure I have anything to say except thanks for the invite to say something. I was serious, by the way, about the idea of a “natural screensaver.” As much as applications have progressed, screensavers are still about the most interesting things computers do. Arriving late at night (-or late for me, a confirmed father and nerd), didn’t seem to bear out the screen-saver intuition. Perhaps this would have been different were I to have come during the day. So what of the film(ing), as I saw it? The experience of being in the space seemed to have an almost-sedating effect on me: there was something chruch-like – simply in the size of the space, the darkness I found quietening (and provided a kind of ‘cover’: a way of being non-selfconsciously alone with other people present); there was, I think, a kind of alteration of time and space that I can’t quite describe… or perhaps I don’t have the patience, now
mindful of having to leave my computer and get somewhere else soon.
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Long Film Dream

Long Film for Ambient Light related dream, 23 march 2007, 5.30am:
This bizarre dream popped up about 5 days after we did our experiment with Long Film. Talk about mental residue. Remember, all characters are fictional and their resemblance to any person living or dead etc…xx Lucas

We’re in New York and Anthony McCall is putting on a new show, including Long Film for Ambient Light. I’m in the gallery as LFFAL is being set up, it’s completely different from our understanding of the work. This version involves a long piece of perspex set into the wall high up towards the ceiling. On the perspex are printed representations of empty film frames. Behind the perspex film panel an area of wall has been removed, and light filters in from here. I ask Anthony where the light comes from – “the outside of the museum via the air conditioning duct,” she says. Yes, Anthony is a woman. A youngish one, too (although at the start of the dream she was a man, still quite young, and with a full head of hair, far more resembling McCall’s photos from the early 70s, than what I imagine he looks like now, balder and more statesmanlike in appearance.)
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Lucas: notes from Long Film for Ambient Light

16 march 2007

noon (written at 1.30pm)

I pressed go on the timer. Set it to 23 hours 59 minutes. But we still were setting up, so didn’t really take the moment to just be here. Kat was still vacuuming. The space felt clean and neat, there was a “coming into clarity” about the whole thing. But we weren’t quite there yet. I was aware of being slightly stressed with regards to this. Would have been better if we were ready in advance, but I was also quite amused that the film starts whether you are ready or not. In some sense, the film is kind of indifferent to my responses. It doesn’t care if I “attend” to it or not. On the other hand, the film needs me – without me, it is nothing. Maybe.
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