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Scratch Projection / December 3, 2013

SCRATCH: SUBSTANDARD GAUGE

While 35mm was the official format of the film industry at large (the “standard gauge”), the cinematic avant-garde was long characterized by the use of 16mm, to such an extent that it developed into a norm of “medium specificity” close to modernist aesthetics. However, beginning in the 1970s, when so-called “structural” film found itself at an impasse, a way out was made possible by an even more amateur format: Super-8. Its unique characteristics led the way for a rich diversity of artistic practices: film-journals and travel notes (Carolee Schneemann, Howard Guttenplan), reuse of film fragments (Luther Price), parodies of Hollywood (Peggy Ahwesh). This lesson didn’t fail to leave its mark on a new generation of artists (such as Peter Miller or Katherine BAUER) who are also included in this program.

SUBSTANDARD GAUGE

Tuesday December 03, 2013, 20:30


Carte blanche to Enrico Camporesi.

Enrico Camporesi writes on moving images for several magazines and journals and he is a member of the editorial board of La furia umana. He is currently working on a dissertation about matters of experimental film restoration and museology, in a joint PhD program between the University Sorbonne Nouvelle - Paris 3 and the University of Bologna. He works as a film curator as well, collaborating regularly with the Centre Pompidou film department.


THE FIRST AND LAST ROLL OF SUPER8 SOUND FILM
by Peter MILLER
2002 / Video / color / sound / 3' 00
PLUMB LINE
by Carolee SCHNEEMANN
1968-1972 / 16mm / color / sound / 15' 00
NEW YORK CITY DIARY '74
by Howard GUTTENPLAN
1974 / 16mm / color / silent / 15' 00
EXCAVATED #1
by Katherine BAUER
2013 / Super 8mm / color / silent / 5' 00
THE SCARY MOVIE
by Peggy AHWESH
1993 / 16mm / b&w / sound / 9' 00
JELLY FISH SANDWICH
by Luther PRICE
1994 / Super 8mm / color-b&w / sound / 17' 00

MORE INFORMATION

address Cinéma Action Christine
4, rue Christine
75006 Paris
France
email lightcone@lightcone.org
rates 6.00 €