EVERY DAY 1, 2, 3 are 3 small (5” x 51/4”) artist zines about the relation between film and life, living and filmmaking as Sternberg sees it. The books reference different experiences of time respectively:1-daily repetitive; 2- random, contingent; 3- cumulative. Book 3’s images document Sternberg’s studio: film strips, cans of film, editing equipment, optical printer and bolex camera.
- 35 CAD
In 1990, as a student, Karel Doing decided to create Studio één. Many artistic, avant-garde, underground movements and counterculture movements seemed to be over. The rise of video and its academic use began to compete with Super8. To work against the decline of the Super 8 format and techniques, Karel Doing and two of his friends (Saskia Fransen and Djana Mileta) from the art school in Arnham, started to think about creating a new space and promoting the invention of DIY techniques for filming and processing Super8 films.
A cinematic essay set against a contemplative backdrop of 16mm urban California landscapes, The Royal Road offers up intimate reflections on nostalgia, the pursuit of unavailable women, butch identity and Alfred Hitchcock's Vertigo alongside a primer on Junipero Serra's Spanish colonization of California and the Mexican American War. Featuring a voiceover cameo by Tony Kushner.
Price:DVD - 24,95 USDStreaming - 3,99 USDDownload - 9,99 USD
The 1960s and 1970s were a defining period for artists’ film and video, and the London Film-Makers’ Co-operative (LFMC) was one of the major international centres. Shoot Shoot Shoot documents the first decade of an artist-led organisation that pioneered the moving image as an art form in the UK, tracing its development from within London’s counterculture towards establishing its own identity within premises that uniquely incorporated a distribution office, cinema space and film workshop.
Taking photos and making films are two ways of touching people. People have become the main subject of my collections. Collecting is much like an act of faith. It is a creative act, a chance to discover oneself, while at the same time participating in other's passions.
My photographs -and my films- seek out human contact, and they find it.
Colour Box: 19 Films by Len Lye is the largest and most complete collection of work by the New Zealand-born master of ‘direct’ animation and as Time magazine put it, “England’s answer to Walt Disney”.
This DVD is an essential resource for cinephiles and fans of Lye’s work, presenting masterpieces across Lye’s pioneering career in film, made between 1929 to 1979. It includes his first film Tusalava (1929) through to the masterpiece ‘scratch’ films Free Radicals (1958) and Particles in Space (1979).
1448, by Emmanuelle Nègre
35 mm Found Footage Digitized
Sound: Paul Blackburn & Emmanuelle Nègre
This film is a short animation made from 1448 found photograms.
Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such.
Price:116,99 USD - PDF/Epub140 USD - Hardback
Artist Bruce Conner (1933–2008) moved to San Francisco in 1957 and quickly enmeshed himself in the Bay Area’s distinctive cultural milieu, combining a vision and a multifaceted body of work that went beyond the limitations of any genre. From early assemblages of the 1950s and 1960s to iconic and pioneering works in film, from photography and photograms to prints, drawings, and paintings, Conner’s oeuvre continues to exert tremendous influence on artists working today.
Over the past half-century, two tendencies have dominated independent, artisanal filmmaking. One of these is the fascination with the material artifacts of cinema´s history: it is often called »found-footage filmmaking« and sometimes »recycled cinema«. Filmmakers working in this vein are often archeologists of cinema, aesthetically and/or ideologically engaging with the work of earlier generations of filmmakers of all kinds.