Filmverkstaden

Event archive

2018

2018-06-13
Stormvind Animationsläger

2018-04-20
THAW - live cinema by Greg Pope

2018-03-10
Project and Survive

2018-02-24
Films by Li-Chun Tseng, Rebecca Erin Moran and friends

2018-02-24
Visible/Invisible_BLUE

2017

2017-08-25
Starting from Scratch: Contact Printing Workshop

2017-07-06
Ekofoto

2017-06-17
New Maps of the New World

2017-06-17
Sound and Image: Making films on a laserprinter

2017-06-03
Starting from Scratch: Filmscreenings

2017-06-03
Starting from Scratch: Filmscreenings

2017-06-02
Starting from Scratch: Filmscreenings

2017-06-02
Starting from Scratch: Filmscreenings

2017-06-02
Starting from Scratch: Handmade emulsion

2017-03-18
Sound and Image: Camera ILLUMINATA-work in anabasis

2017-02-25
Animationsdagarna

2017-02-04
Sound and Image: John Grzinich - transduction twentyfifteen

2016

2016-12-29
Pekko Käppi, Tomutonttu, Soundi Mozard & The Bodybuilderz

2016-10-08
An evening with Dagie Brundert

2016-10-08
Yummy Soup EKO Film Workshop

2016-10-06
Pinhole EKO Photo Workshop

2016-06-06
Stormvind Animationsläger 2016

2016-04-21
SUPERMARKET Art Fair

2016-03-06
Stormvind Workshop - Ljud-Maskin

2016-02-06
Hand and Machine

2016-02-06
Chromaflex - 16mm

2016-01-23
Xavier Quérel: Quelques minutes de soleil après minuit

2015

2015-11-29
Svart/Vit Fotokurs

2015-11-18
L'Alternativa

2015-10-24
SUPER8 Workshop

2015-10-23
Art..Film..Friday - October FilmFest

2015-10-18
Home Movie Day 2015

2015-10-02
Stormvind Malax 2015

2015-09-06
WTF - Welcome to Finland

2015-09-05
Konstrundan

2015-08-29
Objekti On

2015-08-22
Polish Fandango

2015-08-09
Catalysti meets Filmverkstaden

2015-06-01
Stormvind Malax Filmläger

2015-04-16
SUPERMARKET Art Fair

2015-03-29
Stormvind Malax

2015-03-27
Antti Tolvi + Arttu Partinen + Arvid van der Rijt

2014

2014-12-21
International Short Film Day

2014-11-30
Future Shorts Autumn Season

2014-10-19
Home Movie Day 2014

2014-10-12
Dolphins Into The Future + Monopoly Child Star Searchers

2014-09-15
Future Shorts Summer Season

2014-09-06
Konstrundan

2014-06-02
Sommarkurs i foto

2014-05-24
Future Shorts Spring Season

2014-04-25
Den Arkaiska Rösten

2014-04-13
AAVE Festival

2014-03-21
Stormvind Malax

2014-02-14
SUPERMARKET ART FAIR

2014-02-07
Stormvind Malax

2013

2013-12-15
Future Shorts Autumn Season

2013-11-30
FOTOKURS

2013-10-19
Home Movie Day

2013-10-18
October Filmfest

2013-09-08
Future Shorts Festival

2013-09-07
Konstrundan

2013-08-08
WE MAKE FILM

2013-06-04
Sommarkurs i foto

2013-05-17
DJ kurs + videoklipp

2013-05-11
Fotokurs

2013-04-21
Brunch with Cherry Kino

2013-02-23
Future Shorts Festival

2012

2012-12-14
DJ/VJ workshop

2012-12-07
Friday Afternoon Drink

2012-12-07
Super8 Workshop

2012-11-25
Future Shorts Festival

2012-10-09
@föreningsmässan

2012-06-10
Noah's Archive@Kontaining

2012-03-23
D-I-T audiovisuell klubb för ungdomar

2011

2011-11-11
@Kulturkarnevalen

2011-10-15
@kulturmöten-öppet hus

2011-09-06
D-I-T

2011-08-11
@Konstens Natt: cameraless film workshop

2011-08-08
Ola Ståhl & Cassandra Troyan: F I L M : audio/video-performance

2011-06-06
Filmläger 2011

Starting from Scratch: Filmscreenings

03.06.2017 19:00 - 20:30 h

FILMVERKSTADEN presents FILM AS STRUCTURE (3 of 4)

Film as structure or structure as film is the main theme for this program that use different methods (optical printing, refilming, color separation, loops, superimposition) to manipulate and transform short film sequences or single frames in a structural and time-based manner.

COLOUR SEPARATION
CHRIS WELSBY
1974-1976 | 16MM | COLOR | SILENT | 2’30
This film is based on the colour separation process. High contrast film stock was run three times through a stationary camera; once for each of the light primaries. In the composite image, anything moving is represented in primary or secondary colour whilst anything still, having been filmed through all three filters, is represented in “correct” colour.
When projected the film resembles a moving impressionist painting in which time is seen to participate in the construction of the colour image.

DECK
GILL EATHERLEY
1971 | 16MM | COLOR | SOUND | 13’00
During a voyage by boat to Finland, the camera records three minutes of black and white 8mm film of a woman sitting on a bridge.
The precoccupation of the film is with the base and with the transformation of this material, which was first refilmed on a screen where it was projected by multiple projectors at different speeds and then secondly amplified with colour filters, using positive and negative elements and superimposition on the London Co-op’s optical printer.

SILENT PARTNER
PETER GIDAL
1977 | 16MM | COLOR | SOUND | 30’00
To put it (melo)dramatically, Silent Partner is a narrative. But it is a narrative without plot, identifiable characters or space/time co-ordinates.
“In effect, it turns the spectator loose in a problematic textual system which includes both narrative and non-narrative clues; the puzzle cannot be resolved because its terms are systematically ambiguous. The actual filmic material related closely to that used by Gidal in previous films: hand-held shooting in domestic interiors, with tight framing, frequent zooms and re-focusing, aspires to a kind of 'pre-predicative’ flux, in which full representation is held in abeyance. However, this material is now fragmented by the regular interruption of black leader, so that it appears as a series of discrete segments which are not, in any syntactic sense, shots – single takes clearly extend across more than one segment. Thus even the implication of spatial coherence present in Gidal’s Condition of Illusionand Room Film 1973 is here frustrated. But against this fragmentation, he introduces for the first time a 'diegetic’ soundtrack. In fact, the track is void for much of the film, but twice near the beginning it erupts into animated conversation which, nevertheless, remains just outside the limit of resolution.

EPISODIC GENERATION
PAUL SHARITS
1978 | 16MM | COLOR | SOUND | 30’00
The visual “degeneration” of the image … through successive rephotography is paralleled by the compression of verbal information to the point of its loss of legibility; yet, both the “degenerated” sound and image are perceptually engaging, even in the most advanced stages of “degeneration.” It is obvious why the film has its title, because of the strategies of its coming into being, but, paradoxically, at the level of effect, its dynamics arise from its “Episodic Degeneration.”

Thanks to Mark Webber

Total 75’30

All films from Lightcone, Paris

Curated by Daniel A. Swarthnas

Kindly supported by the HANDMADE programme of Nordisk Kulturfond