“Cinema is dead. At least, it is now in its afterlife or even its reincarnation. Cinema is/was the worlds produced using the tools of analogue motion picture expression. If they are gone then so too has Cinema.”

“To employ those instruments that have just been born (Colour photography and Cinematography) in order to capture and conserve the facts of the planet which are about to die”  Jean Brunhes 1912 (museum Alfred Kahn)

“To employ those instruments that are about to die to capture and conserve those things which have just been born.” Nachleben 2015

My project is to use the creative environment of a film lab and archive to produce, devise and develop creative projects and works of Art

A (film) Lab is defined as a place where film is exposed, developed and projected. Also a place where film is preserved and restored by analogue and digital methods. A (film) archive is defined as a place where artifacts on film are catalogued and collected and possibly screened. But not necessarily only previously made or historically produced works (as in most film archives). Also newly made and purposefully produced. So both these fields of activity join together as one creative platform under the direction and control of Artistic processes and outcomes.

systemFILM

(illustration from Ernest Lindgren’s ‘The Art Of Film’ 1948)

Works could range from absolutely conventional, straight forwards, single films meant for single screen projection to complete digital restorations of discarded films. Or the production of film materials for performative/expanded cinema events  on modified apparatus that only ever appear as live actions to new film records that are based entirely on mathematical filterings of existing footage. Or footage produced to ‘resemble’  found footage that finds an audience, meaning and use though distributed networks with disparate private interests to reincarnations and redesigns of historic apparatus that continues their creative development.     

 Some preliminary AIMS of the Lab.

  1. To form a new Archive of (film based) motion picture works.
  2. To produce works in/through/with film apparatus.
  3. To collect, select, re-use, re-purpose existing film motion picture material to extend any of 1, 2.
  4. To Produce a set of open and experimental guidelines, directives and plans.
  5. To ensure works are accessible in Cinema form for Cinema presentation in a Cinema as part of  ‘Cinema’.
  6. To make research tests into any related film technology apparatus and share any findings openly.
  7. To explore digital technologies in relation to film translation and restoration.
  8. To provide facility in Analogue Motion picture, ie Cinema for use by associated Artists and Film Makers.
  9. To engage with, support and collaborate with any other individuals, organisations or associations or networks who have similar aims.

 

I am currently undertaking a practice based and led MRes (research MA) with UWE and my main focus is on these questions:

How can film as memory technology define an artists archive project? (or How / Is film a technology of memory, a set of techniques developed in order that societies might remember?)

How and why (and if) changes in the value of films takes place once they are incorporated into the establishment of a meta-archive (or once they are incorporated into an archive or that orders its parts by resembling the ‘institution of their importance?)

How can it (film) ‘address’ the future in any specific and precise way, beyond the concrete fact that every kind of utterance and enunciation, to find a reader or subject, must address and construct the future?

If found footage use is a kind of remembering, an active type of memorialising operation what happens if footage is placed, or planted, contrived or artificial? How will it be taken up, collected, reused, remembered, altered?