TRAMA by Christian Lebrat
12min, sound by Burundhi, 1978-1980
"... At times a color pattern appears to move sideways across the screen, from band to band; at other times each band remains seperate. The effect is dancelike, with an alternation between broad movements across the screen and more localized movements in the flickering of the bands.
... Trama has a sound track of traditional music from Burundhi used to welcome visitors--tom-toms and voices. Lebrat chose it, he says, because it was too different from his film to "accompany" it yet didn't contradict it. But I found that the drumming's multiple rhythms and mix of repetition and irregularity formed a perfect parallel to Lebrat's moving, vibrating colors." - Fred Camper (Camper Reader, 2001)
BOUQUETS 26-27 by Rose Lowder
2min 30sec, silent, 2003
Bouquet 26 wasfilmed in the middle of the animals in a small farm, La Terra de Mezo, perched on hillside terraces of Liguara, Italy.
Bouquet 27 was shot in Haute-Garonne, France, around a macrobiotic centre in St. Gaudens and along the countryside leading to the village of St. Béat.
VOILEIERS ET COQUELICOTS by Rose Lowder
2min , silent, 2001
Little is necessary for everything to appear differently. The date, the hour, the weather, the space's layout, one's glance or presence of mind... can make everything change. The boats sail out of the Vieux port in Marseille to be amongst the poppy fields.
AUTUMN FOG by Lynn Loo
12-15min, silent, 2x 16mm projection. 2011
16mm film is used to capture the colours of autumn in my garden. Similar processes to those used in End Rolls are applied to fog the film. To explore further the colours in film, the positive film and the negative film are projected together, on top of one another.
STILL LIFE by Jenny Okun
6min, silent, 1976
Still life explores the transformation of an image from colour negative to colour positive on one film stock. The still life was painted its colour positive on one film stock. The still life was painted its colour negative during filming and then the exposed film was processed and then printed on colour negative printstock. (LUX)
HAND GRENADE by Gill Eatherley
8min, 3x 16mm projection, with soundtrack by Neu! 1971
'... this short energetic extravanganza was the result of a massivelt laborious but traditional film-making process. The initial material was shot on 16mm black and white stock in a pitch-black space. Each single frame was exposed often for several minutes with the camera shutter open whilst Eatherley drew around various objects in space, including her own body, using a single low voltage flashlight bulb. She would than move a little in space and repeat the action for the next frame. It was a process of animation where the subject moved progressively in space. The objects being drawn were never seen directly - they could only be sensed or inferred by mentally linking the consistent end points of the light traces. As a result the object became a ghost - an absence defining a presence. ... The work belongs as much to the environment of a rock club as the cinema or gallery.' (Adapted from 'Gill Eatherley' by Malcolm LeGrice. Sept 2004.)
ISLAND FUSE by Arthur and Corinne Cantrills
11min, sound, 1971
Island Fuse consists entirely of reprocessing monochromatic black and white footage that we filmed in the 60s on Stradbroke Island. Work done using a projector analysis Island Fuse is a film that focuses on the interaction of elements that produced the film that focuses on the interaction of elements that produced the film projector analysis, the camera and its various mechanisms, filters, projector and its mechanisms ribbon and frames; operators.