Film Categories: cameraless

  • Two Weeks – Two Minutes

    Two Weeks – Two Minutes, a film and a book, explores the double-page format and the notion of time in both media. During a two-week residency at the Center for Book and Paper Arts (CBPA) in Chicago, Judith Poirier printed simultaneously on paper and 35mm clear film stock using a letterpress. Every hour during her stay, she systematically wrote down what she was seeing, hearing or doing, trying to capture a snapshot of time. These observations were set directly on the press, at the rhythm of a spread a day while using the CBPA’s collection of metal and wood type.…

  • Dialogue

    Dialogue brings together two disciplines of printing and cinema. Working directly onto the surface of 16mm and 35mm film stock using letterpress, Judith Poirier utilizes an aleatoric approach to animation, generating intuitive compositions governed by elements of chance and surprise. The typographic forms, once translated as a soundtrack, vary from the harmonious to the discordant. From the starting point of the alphabet as a series of abstract symbols, a visual representation of the spoken word, this film explores the acoustic and visual rhythm of type.

  • G/R/E/A/S/E

    What the hell is G/R/E/A/S/E? … a handmade décollage film / Vinyl and Celluloid Party / the last piece of the “Film Quartet” trilogy [with FILM QUARTET / POLYFRAME (2006-2008) & KINOSTURM KUBELKA / 16 variaciones (2009)] / a deconstruction / Sandy / Danny / Sanny / Dandy / … both faces at the same frame? / […] ? […] / A new (sub)versions film… all from the original Grease (1978) / a Re-Play [to – with] Grease? / A Musical? / Found Footage Film ? Appropriationism / Experimental Cinema must be serious only? / Inspired by Dziga Vertov, Mimmo…

  • Rewards

    The film’s original inspiration was Ward’s Pond, a small kettle hole in Jamaica Plain, Massachusetts.Touching off from the natural energies of this constricted urban green space, the film underwent destructive physical processes involving bleach and boiling. The resulting debris of emulsion fluctuate between representational image and the physical presence of the film strip, whose battered surface, nevertheless, continues to evoke the natural decay endlessly taking place on the pond’s shores.

  • By The Time We Got To Expo

    A meditative journey through Expo 67, re-visiting a significant moment in Canadian history using manipulated imagery taken from educational and documentary films. Footage has been re-worked using tints, toners and photochemical techniques to create a vibrant collision of colours, textures and forms.

  • National Tapestry

    Created as a silent, large-scale installation for public spaces, National Tapestry draws our focus to the weft and the warp of the woven image. The materiality of a distressed patriotic symbol echoes the struggles and ambitions of a culture, land and history that are both loved and despised by many. This is Steven Woloshen’s first film exploring ethnology and politics in film.

  • Scratch, Crackle & Pop!

    SCRATCH, CRACKLE & POP! by animator and filmmaker Steven Woloshen highlights 30 years of aesthetic discoveries made in the production of Super 8, 16mm and 35mm animated/experimental films. Written for aspiring animators and film lovers alike, SCRATCH, CRACKLE & POP! is a one-of-a-kind guidebook that explores the techniques, processes and tools of the trade through in-depth case studies of thirteen of Woloshen’s best-known films. A companion DVD and two 35mm filmstrips are included in the book. “A whole grains approach to making films without a camera.” – Steven Woloshen Foreword by Marco de Blois, animation curator and programmer at Montréal’s…

  • Cinematic Conventions

    Part 1 of series pays homage to conventions of cinema. Three short pieces re-present a Transitional moment of an old film / A Desperate Couple searching / A painterly view of an old Horizon

  • A Film, Reclaimed

    Produced with the support of Anna Sanders and École d’Arts Politiques (SPEAP) Paris. The ecologic crisis is a political, economic and social crisis. It is also cinematographic, as cinema coincides historically and in a critical and descriptive way with the development of the Anthropocene. A Film, Reclaimed is a conversation, an essay that reads the terrestrial crisis under the influence and with the help of the beautiful and terrible films which have accompanied it.

  • Les Mains Negatives

    A postcard, St. Ouen flee markets, Paris, 2012.