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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.
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.
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THE FIRST AND LAST ROLL OF SUPER8 SOUND FILM
by Peter MILLER 2002 / Video / color / sound / 3' 00 |
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PLUMB LINE
by Carolee SCHNEEMANN 1968-1972 / 16mm / color / sound / 15' 00 |
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NEW YORK CITY DIARY '74
by Howard GUTTENPLAN 1974 / 16mm / color / silent / 15' 00 |
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EXCAVATED #1
by Katherine BAUER 2013 / Super 8mm / color / silent / 5' 00 |
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THE SCARY MOVIE
by Peggy AHWESH 1993 / 16mm / b&w / sound / 9' 00 |
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JELLY FISH SANDWICH
by Luther PRICE 1994 / Super 8mm / color-b&w / sound / 17' 00 |
| address |
Cinéma Action Christine 4, rue Christine 75006 Paris France |
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| lightcone@lightcone.org | |
| rates | 6.00 € |