http://www.lightfieldfilm.org/welcome daily 1.0 2013-01-30 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510881886513-3TBQWRMQQFQT5HZBGQDA/lf+background.png Light Field http://www.lightfieldfilm.org/2016-program-2 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440574230-SJLV92RFVNM2Q5ZC8XCF/composite_decomposited_still 2016 program 2 Composite/De-Composited Eva la Cour 2015 / 3 minutes / Belgium / 16mm / silent / US premiere Composite/De-Composited juxtaposes picturesque visions of authenticity in urban space with narratives of the High Arctic and the 20th century phantasmagoric medium of film. The short 16mm film is shot at a construction site in Brussels characterized by facadisme. In architecture, this is when a building is demolished and rebuilt from within while the exterior of the building is preserved. The film recording is merged with an account of mine extraction in mountain formations on Svalbard, and together the two elements form the story of creating an image: The film subtly addresses the relationship between planetary raw material and the landscape-as-image. Or, the relationship between the façade as raw material and the city as scenery. -ELC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440470141-MB8HFVYEK70WWY15CEGX/resin_still 2016 program 2 Resin Kimberly Forero-Arnias 2016 / 16 minutes / USA / 16mm / sound / world premiere Through intimate performances, the surfaces of the skin and the screen become plastic and the body's viscous secretions slip between stimulation and discomfort. -KFA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440621996-RUMHQ08SM68F9D8FR484/sleeping_district_still 2016 program 2 Sleeping District Tinne Zenner 2014 / 12 minutes / Russia/Denmark / 16mm / silent Shot on 16mm film in the outskirts of Moscow, Sleeping District is a document of the residential, concrete structures built during the Soviet Era. Static shots of massive apartment blocks and interior views of private apartments form the visual side, which is intercut with a textual side constructed of observations and memories of the residents, translated from Russian into a broken English. Entering private homes built on tangible experiences, memories and imagination, the film questions how we think of collective memory and how the present may hold traces of history, family relations and a fallen political ideology in the shapes of physical objects and structures. -TZ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440526769-0BHM32UPAESMZLZ7G99L/despedida_still 2016 program 2 Despedida (Farewell) Alexandra Cuesta 2013 / 10 minutes / USA / 16mm / sound Shot in Boyle Heights in East Los Angeles, this transitory neighborhood resonates with the poetry of local resident Mapkaulu Roger Nduku. Verses about endings, looking, and passing through, open up the space projected. A string of tableaus gather a portrait of place and compose a goodbye letter to an ephemeral home. -AC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440658596-CYJ1OCKGJJAMR8V5SIE9/remembering_the_pentagons_still 2016 program 2 Remembering the Pentagons Azadeh Navai 2015 / 23 minutes / Iran/USA / 16mm / sound A slow, rhythmic and contemplative journey into filmmaker Azadeh Navai's earliest childhood memories. With an old 16mm Bolex and a hand-made pinhole camera, Navai returns to Tehran and Esfahan, Iran, where the perceptions and recollections of places, emotions, and scents serve as vehicles through which she exposes a deeply personal landscape. She asks - what is the texture of memory? In what ways does time - the light, wind, and air of history - wear upon the monuments and the images of the past? Her camera, gliding through mosques and the heady wares of a bazaar, provides grounding to narrative themes of childhood wonder and familial tragedy. But, as in memory, there is trouble in the image. The convulsions of recollection are perceptible even in the shifting grains of the film image - kaleidoscopic in their geometries of instability and flux. Born in Tehran during the Iran-Iraq war, Navai seeks to access a time of personal turmoil both for her family and for her birth country in this poetic capturing of place, history and memory. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440434059-13YUB41Y5IE8E7ZEGB8C/350_mya_still 2016 program 2 350 MYA Terra Long 2016 / 5 minutes / Morocco/Canada / 16mm / sound The Tafilalt region in the Sahara Desert was once the Rheic Ocean. 350 MYA conjures the ocean's presence in the landscape, deep time in the folds of space. -TL http://www.lightfieldfilm.org/2016-program daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477001949627-9VWO5OOWG74L831E2VOA/image-asset.png 2016 Program Program 1 Friday, November 11th, 2016 @ 7pm The Lab https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477678587073-VLV6Y3XD8GPGNDZ8ABS6/image-asset.png 2016 Program Program 6 Sunday, November 13th, 2016 @ 2pm Artists' Television Access https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1476898331082-8QUBSNPUNXEDYJ3VN8QN/EVENTS+STILL+2.jpg 2016 Program Program 7 Sunday, November 13th, 2016 @ 4:30pm Roxie Theater https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1476859379063-5BJD8BXC5GE5Y5FC8YFZ/SM_1.jpg 2016 Program Program 4 Saturday, November 12th, 2016 @ 7pm The Lab https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477357256481-GEM7XV6C9R52NUEJQXP3/image-asset.jpeg 2016 Program Program 5 Saturday, November 12th, 2016 @ 9pm The Lab https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1478044402670-BW2DJ41L85M8IEVS2TWT/image-asset.jpeg 2016 Program Program 8 Sunday, November 13th, 2016 @ 8:30pm Sutro Baths cave https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1476908430939-G1Y9Y4RSP5J4KDI2HH5M/RTP07.jpg 2016 Program Program 2 Friday, November 11th, 2016 @ 9pm The Lab https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477691970068-CD86NMQ3SH1O6V2FMEEZ/image-asset.jpeg 2016 Program Program 3 Saturday, November 12th, 2016 @ 5pm The Lab http://www.lightfieldfilm.org/2016-program-6 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477677879169-5D9A1M2ZAU0AVVA4RPVX/observation_still 2016 program 6 Observation Hiroshi Yamazaki 1975 / 10 minutes / Japan / 16mm / silent Yamazaki's film is composed of two sequences: a simple scene of a street corner taken from a window is given the appearance of dawn, then illumination, then blinding light through the use of a single gradual filter change; and shots of the position of the midday sun on 27 consecutive days, taken through a dense day-for-night filter, are superimposed, creating an eerie arc of heavenly bodies. Yamazaki Hiroshi is probably best known for his still photography, in particular his acclaimed series “Suiheisen saishū (Horizon),” a study of sea horizons, and “Heliography,” where he uses extended exposure times to show the path of the sun near the horizon. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477678180550-OAVMVR52IL31G3GYABHV/blue_loop_july_still 2016 program 6 Blue Loop, July Mike Gibisser 2014 / 5 minutes / USA / 16mm / sound Chicago's summertime blazes, unanchored. Skywriting out of time. Part of a series of nighttime long exposures, Blue Loop, July creates an odd document of a long-standing celebratory tradition in one of Chicago's lower west side neighborhoods. By leaving the camera's shutter open for seconds at a time, the film transforms a summertime spectacle into a light-trace animation that unseats reliability of spatial and temporal direction. -MG https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477677938992-LVQAYAPWA9T32LAP7Q71/gradual_speed_still 2016 program 6 Gradual Speed Els van Riel 2013 / 52 minutes / Belgium / 16mm / sound A few years ago I started collecting images with the idea to pay homage to the slowly vanishing techniques of analog filmmaking. Now a series of these recordings makes Gradual Speed, a work on and for black and white 16mm-film seen as matter, and at the same time as a metaphor for everything we can not grasp. -EVR For a film whose title describes the relatively simple mechanism used to create it, Els van Riel's 16mm film ushers a series of startling transfigurations which brilliantly engage the form in the extended time spent with people, animals, events and objects in whose company the filmmaker sketches larger philosophical concerns to do with love, fixity, representation and loss. Carefully positioned, the camera begins on a single frame, the shutter held open, and then is imperceptibly increased in speed, quickening the frame rate and thus changing the exposure time for each successive frame, which eventually produces a visible moving image whose Keystone-Cops styled speed in turn changes, at length falling into step with real time. van Riel was inspired to make the film in part by happening upon the account of Vladimir Shevchenko, one of the first photographers to witness the immediate and appalling consequences of the nuclear disaster at Chernobyl and to record them on a sensitive plate. The actual degree of that sensitivity was evident in the film he used, which, when processed, showed the characteristic effects of heavy radiation in the emulsion. He himself later succumbed to radiation poisoning. van Riel notes, “It is this inextricable relationship that casts its long shadow across this musing film-sculpture, like an afterthought that reminds us that film is primarily a body that carries within it the light traces of other bodies, always balancing between appearing and disappearing.” These observations are manifested in the precision of her subject's endlessly renewed temporal adjustment, so that the imminent haste, for example, of her dozing mother, whose fidgeting over the long duration signifies much in its change of speed alone, becomes all we have ever needed to know about exposure tables and time's abstract passage. It is this inward epiphany, rather than any dazzle on the screen that holds the greatest power to sway. -Julie Murray http://www.lightfieldfilm.org/about daily 0.75 2025-03-09 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1553479340037-XP9O43AF6981EJYE29WX/canyon_cinema.jpg About https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1569600333925-6Z8R798W9W42FR3OB3AT/the+lab.jpg About https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/c47cd512-0044-4700-91e1-8f01fd3d281e/Alternative-Exposure-Cover-Image-760x428.jpg About - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510963660019-0AEEBZVFVSDJAVTCZG69/lf+bf.jpg About http://www.lightfieldfilm.org/2016-program-3 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440769023-VTU5HTYRAF86JL312VEF/as_without_so_without 2016 program 3 AS WITHOUT SO WITHIN Manuela De Laborde 2016 / 25 minutes / Mexico/USA/UK / 16mm / sound / US premiere Conceptually informed by the artist’s active filmgoing, AS WITHOUT SO WITHIN takes as its point of departure prop sculptures which are transformed both through hybrid techniques of framing, lighting, and superimposition. AS WITHOUT explores the possibility that the surface of things is an entity worthy of its own depth for itself and in itself, demanding to be seen and confronted as such. -MDL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440845893-SS19VEJ32K5OQ8ZD37NQ/rock_roll_still 2016 program 3 Rock Roll Josh Guilford 2015 / 3 minutes / USA / 16mm / silent A camera roll film shot on a small island in Lake Superior. Mapping the surface of a sandstone formation that dates back over 900 million years. Thinking about the slow, relentless action of sedimentation and compaction. Shooting in short bursts so that images might accumulate like falling waves. -JG https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440898311-30OSP8SIRN0NCAWLBHS0/iron_condor_still 2016 program 3 Iron Condor Meredith Lackey 2015 / 10 minutes / USA / 16mm / sound Iron Condor presents the sensible evidence of the Chicago Futures and Options Exchange from grain to data. The film takes its name from an option trading strategy whose profit/loss graph resembles a large bird. Static objects contend with a virtual atmosphere that renders the physical obsolescent. -ML https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477624064720-5PPPOK8LV9ND07ZUAR9O/traces_still 2016 program 3 Traces Erin Weisgerber 2014 / 5 minutes / Canada / 16mm / sound Trace n. 1. a. A visible mark, such as a footprint, made or left by the passage of a person, animal, or thing. b. Evidence or an indication of the former presence or existence of something; a vestige. 2. A barely perceivable indication -EW https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440807373-QBMLQQ14PX4RSXHD42NA/potemkin_village_still 2016 program 3 Potemkin Village Eva la Cour 2015 / 3 minutes / Belgium/Denmark / 16mm / silent Potemkin Village is a 16mm film and installation loop. Its title derives from a notion in politics and economics covering any construction (literal or figurative) built solely to deceive others into thinking that a situation is better than it really is. -ELC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477621747841-EIN6TMLTL92LVGJ81MNZ/new_york_portrait_still 2016 program 3 New York Portrait, Chapter I Peter Hutton 1979 / 16 minutes / USA / 16mm / silent Hutton’s sketchbook of mid-1970s New York, edited in three parts over twelve years, is a chronicle of indelible impressions and an act of urban archeology. The artist evokes the city’s delicate rhythms, tonal contrasts, and shifts of scale — scrims of white mist and black smoke, of gauze, cloud, and fluttering pennant; the shadowy geometries of tenements and water towers; palimpsests of graffiti, skywriting, and painted signs; ecstatic sunlight glinting off the wings of homing pigeons as they traverse a pillowy sky; the slight rustle of a homeless man’s shirt; the flowery patterns of rainwater draining from a flooded street; a blimp’s lazy progress between two buildings whose balconies resemble film sprockets; and a winter fog rolling over the sandy rivulets of Coney Island, making of it a lunar park, removed from time. -Josh Siegel https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440867910-K1MJXGJW7SI7LGQNIM1L/vaseline_still 2016 program 3 Vaseline Malic Amalya & Nathan Hill 2016 / 7 minutes / USA / 16mm / live score "Lying on the table, it was a banner telling the invisible legions of my triumph over the police. I was in a cell. I knew that all night long my tube of vaseline would be exposed to the scorn-- the contrary of a Perpetual Adoration-- of a group of strong, handsome, husky police men. So strong that if the weakest of them barely squeezed his fingers together, there would shoot forth, first with a slight fart, brief and dirty, a ribbon of gum which would continue to emerge in a ridiculous silence. Nevertheless, I was sure that this puny and most humble object would hold its own against them; by its mere presence it would be able to exasperate all the police in the world; it would draw down upon itself contempt, hatred, white and dumb rages." -Jean Genet, The Thief's Journal (1949) Caught in a system of confinement, surveillance, and restriction, a leather fag eludes the state by recalling his lover bathed in vaseline. -MA & NH http://www.lightfieldfilm.org/2016-program-7 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477619047212-SCT4336XR7WM5QQOLPRE/spiral+4+.jpg 2016 program 7 The Kiss Luis Macías 2014 / 9 minutes / Spain / 35mm / sound Based on the film The Kiss (T. Edison 1896) in its original 35mm format, this video-film project is based on a structural re-shooting and re-recording of the original film in all the existing formats: analog, electronic and digital, in an evolutive form. The film is a reiteration of the act of kissing. The emphasis on the kiss, repeated and multiplied, while deteriorated in it’s own progress. The history of the evolution of formats through a kiss. An intimate and aesthetic relationship between media and audiovisual formats. -LM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477439706527-FJ63KDULFXGF8JJARA0P/iframe_still.jpg 2016 program 7 (I)FRAME Karissa Hahn & Andrew Kim 2016 / 11 minutes / USA / 35mm / sound **FLICKER WARNING** A video is a stream of information, and this moving image relies upon the relationship of static frames which are algorithmically determined.... In the language of video compression, the (I) frames are the reference points between which movement is interpolated. Manual deletion or misplacement of (I) frames results in a video glitch known as a datamosh … the stream of nformation d srupted, d sorgan zed … nterupeted … lost … the ( ) frame removed, rejected … BUT, reclaimed, the (I) frame, the burning bolts of the machine, are at once reasserted in this dance macabre.... (I) FRAME is a mechanical ballet set to the original tempo that characterizes motion on screen at 24 (I) frames a second…. shot at the 2015 DARPA Robotics Challenge in Pomona, CA -KH & AK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1476901919347-O4WX7JTS9ZY1OIALP6J0/image-asset.jpeg 2016 program 7 Events in a Cloud Chamber Ashim Ahluwalia 2016 / 21 minutes / India / 35mm / sound In 1969, Akbar Padamsee, one of the pioneers of Modern Indian painting, made a film called Events In A Cloud Chamber. Shot on a 16mm Bolex, the film ran for six minutes and featured a single image of a dreamlike terrain. Inspired by one of Padamsee's own oil paintings, he experimented with a new technique of superimposing shapes formed with stencils and a carousel projector. After just a handful of screenings, the film was shipped to an art expo in New Delhi where it was misplaced. The film existed only as a single positive print and there were no copies. This was possibly the birth of experimental film in India, but it ended before it began. What was this mysterious film? A rare, spectral trace of India's forgotten avant-garde cinema, Events In A Cloud Chamber now exists only in memory. But can one rebuild a film from memory? More than 40 years later, filmmaker Ashim Ahluwalia worked with Padamsee, currently 88 years old, to remake the film. Events In A Cloud Chamber (2016) is a result of their collaboration. Like a maze that leads into endless other mazes, Events In A Cloud Chamber’s vanishing reads like a fable. More than just the disappearance of an artwork or an aborted attempt at an experimental film movement, it suggests ideas about mortality. As Padamsee, now in his twilight years, looks back, what does he see? Does art stop aging and preclude death? Like extinct languages and deathbed confessions, Events is ultimately a ghost story, meditating on vanished art, mortality and the phantoms that we leave behind. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477512401956-YKJ62RT8E3H0QQNJ9OH5/swamp_donkey_still 2016 program 7 Swamp Donkey, Sweet Sight Colin Brant 2016 / 4 minutes / USA / 16mm / sound An entry from the second day of calling in Kapuskasing, Ontario. Sep 21, 2013. -CB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1476992621771-AKAM1V53P8T0RQ7G663S/image-asset.jpeg 2016 program 7 Luna e Santur Joshua Gen Solondz 2016 / 11 minutes / USA / 35mm / sound Originally commissioned as a Michael Smith/Peggy Ahwesh inspired short for Ben Coonley's My First 3D Part 2 at Microscope Gallery, I expanded this project into what it currently is: hooded figures, violent passion, and stroboscopic tenderness brought on by a paranormal encounter I had in the summer of 2015. -JGS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1476901207772-FMT1UY1TSU2WF5P2AX9T/image-asset.jpeg 2016 program 7 Solitary Acts (4,5,6) Nazlı Dinçel 2015 / 25 minutes / USA / 16mm / sound These three films are part of series that follow a female child through her teenage years while she explores her sexuality, and discovers her perversions. Hand-processed and altered images follow a labor-intensive, formal questioning of the medium. Female and male masturbation, flowers being taken apart and being put back together, extreme close-up shots of fabric and practice-kissing the mirror create a visceral, humorous and tumultuous experience of these personal memories. -ND http://www.lightfieldfilm.org/2016-program-5 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477512015582-X79V3D0XUTHUKSJHL2QZ/filter_beds_still 2016 program 5 Filter Beds Guy Sherwin 1998 / 9 minutes / UK / 16mm / silent A delicate study of a tangle of scrub and trees. A very shallow depth of field causes branches and stalks of wild grasses to emerge and disappear as Sherwin racks focus, settling on the jet planes sweeping across an impossibly distant sky. The soft rich grain of the muted image lends it a dreamlike timelessness. -Brian Frye https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477511959773-5OW4QHG9ABYZ52DBEDTD/cinematographie_still 2016 program 5 Cinematographie Philipp Fleischmann 2009 / 6 minutes / Austria / dual channel 16mm / silent Fleischmann built a circular camera obscura construction in a forest, 360 degrees around, in which the light enters through a small hole and shines on light-sensitive material. Inside the camera, he placed two 16mm filmstrips side by side: one was exposed to the world outside the camera obscura, the other to the world inside the construction. In this manner, it was possible to film both sides of the environment simultaneously. There are no frame breaks, so no frames, but only one image of a forest, so that a phenakistoscopic effect is achieved during projection. In Cinematographie, film is no longer a sequence of single frames, but rather a total image that emerges all at once. This continuous, simultaneous projection of reality leads to a cinematic standstill, although the projected image is equal to a tracking shot. -IDFA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477625775238-3447L3OZJ2W8HQ69ZJ7I/white_line.jpg 2016 program 5 Kiri Sakumi Hagiwara 1972 / 8 minutes / Japan / 16mm / sound A single unbroken shot from a stationary viewpoint records a landscape enveloped in white mist, at first indiscernible and then slowly and intermittently visible in a subtly adumbrated investigation of the form of film surface, at once a scroll and a view, in which a continuously emergent landscape maintains the tension between that which is an illusion and that which is inscription.   https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477511989107-SOPKKKTYWNUSCIK50MT3/lunar_almanac_still 2016 program 5 Lunar Almanac Malena Szlam 2013 / 4 minutes / Chile/Canada / 16mm / silent Lunar Almanac initiates a journey through magnetic spheres with its staccato layering of single-frame, long exposures of a multiplied moon. Shot in 16mm Ektachrome and hand processed, the film’s artisanal touches are imbued with nocturnal mystery. -Andréa Picard https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477512040186-B1ZXDRGLF3FCR1C8YYAG/zone_of_total_eclipse_still 2016 program 5 Zone of Total Eclipse Mika Taanila 2006 / 6 minutes / Finland / dual channel 16mm / sound This piece is based on scientific film footage shot by the Finnish Geodetic Institute in Poroluoto, western Finland in 1945. Filmed during a total eclipse of the Sun, this was the first time in history that sound film was used to measure the exact geographical distance between two continents, Europe and North America. The scientists attempted to calculate the passage of time by beaming long-wave radio signals into space and synchronizing these signals with their cinematic observations. The experiment failed, however, due to loading errors and mechanical running problems with the newly introduced 35 mm cameras. The work consists of two separate reels – positive (“The Sun”) and negative (“The Moon”) – projected simultaneously, superimposed on a wall. The piece pays homage to the early pioneers of scientific film, a celebration of our subconscious dark side and interplanetary shadows. -MT https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477674425967-7YVBRPL20SN9FWQ3KH8J/image-asset.png 2016 program 5 Apotheosis Yoko Ono & John Lennon 1970 / 18 minutes / UK / 16mm / sound Apotheosis is one of the most ingenious single-shot films ever made. A camera pans up the cloaked bodies of Lennon and Ono, then on up into the sky above a village, higher and higher across snow-covered fields (the camera was mounted in a hot-air balloon, which we never see- though we hear the device that heats the air) and then up into the clouds; the screen remains completely white for several minutes, and finally, once many members of the audience have given up on the film, the camera rises out into the sunny skyscraper above the clouds. The film is a test and reward of viewer patience and serenity. -Scott McDonald https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477625853684-3QQALU1RXIVO11REK9WJ/point_de_gaze_still 2016 program 5 Point de Gaze Jodie Mack 2012 / 5 minutes / USA / 16mm / silent Named after a type of Belgian lace, this fabric flicker film investigates intricate illusion and optical arrest. -JM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477432757026-A96N89OG1U74T3JKZ9PZ/the_image_world_still 2016 program 5 The Image World Adele Horne 2008 / 6 minutes / USA / 16mm / silent When sunlight falls through the spaces between leaves on a tree, the pin-hole apertures in the foliage create images of the sun on the ground below. This film records replicas of the sun as they appear and disappear in the dappled light under trees. -AH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477512118881-HPQME1LDZ5M7IO8IC02Z/under_the_shadow_still 2016 program 5 Under the Shadow of Marcus Mountain Robert Schaller 2011 / 6 minutes / USA / 16mm / silent Shot entirely with a homemade pinhole camera and edited largely in-camera through the use of a rhythmic score. The structures of our thought filter what we see, and in fact there is no seeing apart from those structures. This film is part of an ongoing project to show where I am in a (here, natural) landscape in a way that reflects those structures of thought. It is "hypnogogic," not so much perceptually (although to some extent that too) as conceptually. Our eyes see constantly, but what do we actually notice? That vision is excessive, wasteful, even; in paring down, it becomes both more spare and more concentrated. -RS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477434150823-C7AR59DZC1UKKXBII0ZM/image-asset.jpeg 2016 program 5 Red Shift Emily Richardson 2001 / 4 minutes / UK / 16mm / sound In astronomical terminology redshift is a term used in calculating the distance of stars from the earth, hence determining their age. Redshift attempts to show the huge geometry of the night sky and give an altered perspective of the landscape, using long exposures, fixed camera positions, long shots and time-lapse animation techniques to reveal aspects of the night that are invisible to the naked eye. The film has a gentle intensity to it, and is composed of changes of light across the sea, sky and mountains. It shows movement where there is apparent stillness, whether in the formation of weather patterns, movement of stars, the illumination of a building by passing car headlights or boats darting back and forth across the sea’s horizon. The sound has been composed for the film by Benedict Drew, taking field recordings of the aurora borealis as a starting point, and using purely computer generated sound to create a soundtrack that reflects the unheard elements present in the earth’s atmosphere. -ER http://www.lightfieldfilm.org/2016-program-8 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1478046149777-W4P1D2GMFGT5NHMO1393/image-asset.jpeg 2016 program 8 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1478044577877-U29GBDCTACAC3MF1RMWS/solid_light_still 2016 program 8 Conical Solid Anthony McCall 1974 / 10 minutes / UK / 16mm / silent Line Describing a Cone Anthony McCall 1973 / 30 minutes / UK / 16mm / silent Line Describing a Cone is what I term a solid light film. It is dealing with the projected light-beam itself, rather than treating the light-beam as a mere carrier of coded information, which is decoded when it strikes a flat surface (the screen). The film exists only in the present: the moment of projection. It refers to nothing beyond this real time. The form of attention required on the part of the viewer is unprecedented. No longer is one viewing position as good as any other. For this film every viewing position presents a different aspect. The viewer therefore has a participatory role in apprehending the event: he or she can -- indeed needs to move around, relative to the emerging light-form. -AM http://www.lightfieldfilm.org/contact daily 0.75 2023-01-14 http://www.lightfieldfilm.org/2016-program-4 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477511383107-VRZ0WWZ1GNNDS5T47PHB/ceol_still 2016 program 4 Ceol (Ruinsong) Ben Balcom 2016 / 5 minutes / USA / 16mm / sound See the ruins of a castle at the far edges of land. The birdsong you hear mimics the sound of the river, and the human voice mimics the song of the bird. This is a failed historical gesture sung in a playful, wild mimetic gesture. -BB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477511753993-AI3YP39B09BCJ8W26J6J/prima_materia_still 2016 program 4 Prima Materia Charlotte Pryce 2015 / 3 minutes / USA / 16mm / silent Delicate threads of energy spiral and transform into mysterious microscopic cells of golden dust: these are the luminous particles of the alchemist’s dream. Prima Materia is inspired by the haunting wonderment of Lucretius’ De Rerum Natura. It is an homage to the first, tentative photographic records that revealed the extraordinary nature of phenomena lurking just beyond the edge of human vision. -CP https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477511631341-A64MMLJC160EMJAZ4OTU/the_past_is_past_still 2016 program 4 The Past is Past [but there is something now that I regret like I was about to do it] Josh Lewis 2015 / 7 minutes / USA / dual channel 16mm / silent The past is past, but there is something now that I regret like I was about to do it. -JL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477511860372-EO9OLDCSUJ8TQ8ZXHQZR/speech_memory_still 2016 program 4 Speech Memory Caroline Key 2007 / 23 minutes / USA / 16mm / sound Father and daughter discuss the lives of past generations to form a posthumous portrait of the filmmaker's grandfather, Key Jin Yun. A deaf-mute Korean born in Japan during its occupation of Korea, Key Jin Yun, was raised fully integrated into Japanese society, learning only written Japanese and Japanese sign language. In 1945, with Japan's defeat and the end of the occupation, he and his family returned to Korea. Speech Memory examines the impact of immigration and cultural assimilation through the details of Key Jin Yun's life, revealing the shifting complexities of language, national identity, and memory. -CK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477620911311-OK8YNQYTXSJ6P5SH9QH1/the_bellouin_sequence_still 2016 program 4 The Bellouin Sequence Rick Bahto 2008 / 3 minutes / USA / 16mm / silent A portrait of the composer Ashley Bellouin, made over the course of several trips to visit her at her home in San Francisco. Describing her own work, she says "...compositions emphasize and explore the sonic potential contained within a single musical gesture ..." -RB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477511650401-RJS3RRS2QPHX7H959B4T/blue_line_chicago_still 2016 program 4 Blue Line Chicago Richard Tuohy & Dianna Barrie 2014 / 10 minutes / Australia / 16mm / sound Architectural distortions of the second city. -RT & DB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477511419352-0RKPY9KWQ2CFJTCGO1B8/parallel_inquiries_still 2016 program 4 Parallel Inquiries Christina C Nguyen 2016 / 10 minutes / USA / 16mm / sound sound from image / image from color // inquiries into the analog film system -CCN https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477621147012-8302EP87086OTO9YGOPH/reckless_eyeballing.jpg 2016 program 4 Reckless Eyeballing Christopher Harris 2004 / 14 minutes / USA / 16mm / sound Taking its name from the Jim-Crow-era prohibition against black men looking at white women, this hand-processed, optically-printed amalgam is a hypnotic inspection of sexual desire, racial identity, and film history. I use non-narrative formal strategies to unravel long-standing narrative tropes of racial identity. Through this approach, questions of race and identity become questions of cinematic form, material and structure rather than a matter of narrative content. I take up the idea of threatening, outlawed gazes in order to suggest the ambivalent interplay of dread and desire associated with the bodies of black outlaws. -CH http://www.lightfieldfilm.org/2016-program-1 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440091212-3U0JOSRG4KVFJPTI8864/toxic_shock_still 2016 program 1 Toxic Shock Vanessa Renwick 1983 / 3 minutes / USA / 16mm / sound A visceral personal response to surviving a near-fatal case of Toxic Shock Syndrome. Toxic Shock combines intimate taboos of needles, blood and tampons with tried and true hands-on self-defense, set to a spare, penetrating and unknown score provided by a cassette tape gifted by a forgotten friend. A call to arms; what will you do in defense of your body? -VR https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440027992-2HXS1X0ER3QBFNGOM01Q/energize_still 2016 program 1 Energize Pablo Valencia 2013 / 1 minute / USA / super 8mm / silent https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440202767-R1L5S5R54PIILNKLLKHO/late_light_still 2016 program 1 Late Light Matt Whitman 2015 / 3 minutes / USA / 16mm / silent Clouds of light became precious when she died -MW https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440146079-RXERC3MDMLSURCOZW41M/blue_still 2016 program 1 Blue Shiloh Cinquemani 2013 / 3 minutes / USA / 16mm / silent Ode to the unique blue of the discontinued Kodak Ektachrome. A clear blue California sky made of clouds of film grain. -SC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477439995138-WUL1Q0YPA3LMUNK8K95U/hay_algo_y_se_va_still 2016 program 1 Hay Algo Y Se Va Kimberly Forero-Arnias 2014 / 3 minutes / USA / 16mm / sound Family footage is gathered and sifted to create a perpetual sea of bodies, gestures and gazes that collide to create a familiar yet estranging reunion. -KFA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440331031-Z5N7L36ZGEG16Y9EJUSX/if_you_cant_see_my_mirrors_still 2016 program 1 If You Can't See My Mirrors, I Can't See You Alee Peoples 2016 / 12 minutes / USA / 16mm / sound A study of the frame. An equal exchange between friends. -AP https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440115755-K9RU7E2FB2WXYBZ36MCY/narcissi_still 2016 program 1 Narcissi Shiloh Cinquemani 2013 / 3 minutes / USA / 16mm / silent A Berlin spring still-life. -SC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440228484-NTVFGNQFTZC7TTW5VDFZ/them_apples_still 2016 program 1 THEM APPLES Adam R. Levine 2016 / 3 minutes / USA / 16mm / sound / US premiere Using the parallel temporal forms of the three-minute pop song and the 16mm camera roll, THEM APPLES runs The Beatles' "Back In The U.S.S.R." through iTunes Visualizer to create an optical sound experiment in which synaesthesia and pop cultural memory are turned back on themselves. -ARL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440381548-QYI442OMF6GU70N0D47V/tune_in_still 2016 program 1 Tune In Esther Johnson 2006 / 14 minutes / UK / 16mm / sound "Ham Radio, the Space Age hobby where the world is your friend" Tune In follows the fascinating world of amateur radio operators. Although amateur by definition, HAMS (translating as an acronym for "Help All Mankind") undertake a rigorous licensing exam covering strict regulations and intellectually challenging technical knowledge. As well as being considered the fourth emergency service, providing backup when power and phone lines are down, HAMS, once they master the know-how, can be transported beyond the confines of their everyday existence with "do-it-yourself" radio technology. By connecting documentary with a textured soundtrack, Tune In transects the politics of space and social communication unveiling the peculiar world of the radio ham. -EJ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440176422-5BEOO3G8C7WN54FVEAPC/roundtrip_still 2016 program 1 Roundtrip Philippe Leonard 2014 / 3 minutes / USA/Canada / 16mm / silent A diptych filmed on a journey between Montreal and New York City. My last roll of Ektachrome to commemorate an important day when two became unified in the act of giving. -PL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440255548-VKSTMIYYTZ7ST0SLDQ8E/hotel_cartograph 2016 program 1 Hotel Cartograph Scott Stark 1983 / 12 minutes / USA / 16mm / sound A camera mounted on a movable cart, pointing down at the floor, passes over a seemingly endless succession of gaudy carpets and surfaces in a single shot through a major hotel. The movements across the 2-dimensional space, and in and out of elevators through 3-dimensional space, suggest a conceptual map of the visible environment, which is perhaps drawn by the camera itself. -SS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1477440050818-GMCHHFA1YPIF3YJG151S/spotlight_on_a_brick_wall_still 2016 program 1 Spotlight on a Brick Wall Alee Peoples & Mike Stoltz 2016 / 8 minutes / USA / 16mm /sound A performance film that navigates expectations of both the audience and the makers. A series of false starts. Dub treatment on the laugh track. -AP & MS http://www.lightfieldfilm.org/events daily 0.75 2022-11-04 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1612030287702-XRG0XQ45P5LYL6SCCO1I/pucill-milkandglass.jpg Past Events - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1497562311906-BFP46UKMXVETUZ1224TC/image-asset.jpeg Past Events O'er the Land Deborah Stratman 2009 / 52 minutes / USA / 16mm / sound "A meditation on the milieu of elevated threat addressing national identity, gun culture, wilderness, consumption, patriotism and the possibility of personal transcendence. Of particular interest are the ways Americans have come to understand freedom and the increasingly technological reiterations of manifest destiny. While channeling our national psyche, the film is interrupted by the story of Col. William Rankin who in 1959, was forced to eject from his F8U fighter jet at 48,000 feet without a pressure suit, only to get trapped for 45 minutes in the up and down drafts of a massive thunderstorm. Remarkably, he survived. Rankin's story represents a non-material, metaphysical kind of freedom. He was vomited up by his own jet, that American icon of progress and strength, but violent purging does not necessarily lead to reassessment or redirection. This film is concerned with the sudden, simple, thorough ways that events can separate us from the system of things, and place us in a kind of limbo. Like when we fall. Or cross a border. Or get shot. Or saved. The film forces together culturally acceptable icons of heroic national tradition with the suggestion of unacceptable historical consequences, so that seemingly benign locations become zones of moral angst." - DS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550431748222-PRLLMEQVUEDMEOC03TXI/%E5%8A%87%E7%85%A75_Mountain.jpg Past Events https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1497571864477-D9L6Y2567GEG28WEQ146/image-asset.png Past Events https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1663013195409-JWV6QO16C1TMTZJJ12XA/APeoples_SFFstill_heels.jpeg Past Events - Make it stand out Whatever it is, the way you tell your story online can make all the difference. http://www.lightfieldfilm.org/deborah-stratman-presents daily 0.75 2017-06-18 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1497564798480-4V5SAQJSCF93A2EZIQRX/image-asset.jpeg Deborah Stratman presents O'er the Land Deborah Stratman 2009 / 52 minutes / USA / 16mm / sound A meditation on the milieu of elevated threat addressing national identity, gun culture, wilderness, consumption, patriotism and the possibility of personal transcendence. Of particular interest are the ways Americans have come to understand freedom and the increasingly technological reiterations of manifest destiny. While channeling our national psyche, the film is interrupted by the story of Col. William Rankin who in 1959, was forced to eject from his F8U fighter jet at 48,000 feet without a pressure suit, only to get trapped for 45 minutes in the up and down drafts of a massive thunderstorm. Remarkably, he survived. Rankin's story represents a non-material, metaphysical kind of freedom. He was vomited up by his own jet, that American icon of progress and strength, but violent purging does not necessarily lead to reassessment or redirection. This film is concerned with the sudden, simple, thorough ways that events can separate us from the system of things, and place us in a kind of limbo. Like when we fall. Or cross a border. Or get shot. Or saved. The film forces together culturally acceptable icons of heroic national tradition with the suggestion of unacceptable historical consequences, so that seemingly benign locations become zones of moral angst. -DS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1497565359809-GXE60JU9AMH9SPK6LXRS/image-asset.jpeg Deborah Stratman presents Ciao Bella Betzy Bromberg 1978 / 13 minutes / USA / 16mm / sound Ciao Bella shows a world of crowded, kinetic New York streets and hauntingly empty interior spaces, graced briefly by wisps of childish energy and the provocation of nearly naked women. Bromberg deftly contrasts that vibrant exuberance with a sense of devastating loss and the effect is at once brazenly personal (if elliptical) and incredibly powerful. Unfolding desire merges with the ever-present reality of the threat of losing what you love. -Holly Willis https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1497566287349-BH56V7N8RK1AEY0HUVZI/image-asset.jpeg Deborah Stratman presents Nocturne Phil Solomon 1980/1989 / 10 minutes / USA / 16mm / silent) Finding similarities in the pulses and shapes between my own experiments in night photography, lightning storms, and night bombing in World War II, I constructed the war at home. -PS http://www.lightfieldfilm.org/matters-of-practices-actions-doings daily 0.75 2017-06-16 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1497575270576-1E0UTO4PR37D8L2EJVKO/peter_rose_still.jpg Matters of Practices / Actions / Doings The Man Who Could Not See Far Enough Peter Rose 1981 / 33 minutes / USA / 16mm / sound A powerfully formal, analytic inquiry into the nature of vision and cinema… painfully beautiful images of mysterious events and things that split, multiply, migrate and quiver with a hallucinatory vibrance… a rich fabric interlacing the metaphysical with the ironical.” -Sally Banes, The Village Voice https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1497576171739-WDXYMENH98XUI02K2A8B/image-asset.jpeg Matters of Practices / Actions / Doings Matters of Practices/Actions/Doings Kerstin Schroedinger 2016 / 25 minutes / performance Through an exploration of movement and sound, rhythm and physicality in the material film, I examine the relation between sound and physicality and sound and the body of film. I analyze the technical procedure of movement of film and movement of the body, and the links between those sounds and movements in order to understand both the actual and active part of movement as a component of the film material as well as the consequences the material has for social and physical bodies. -KS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1497575653952-0Z0XQWHBFCN2UR5CPSGY/fugue2.jpg Matters of Practices / Actions / Doings Fugue Kerstin Schroedinger 2015 / 8 minutes / Germany/Canada / 16mm / sound Fugue is a formal and physical experiment in order to understand the relationship between image, sound, and movement. The movements and the setting are informed by motion studies that were conducted and filmed at the beginning of the 20th century with the aim to use filmmaking for analyzing motions of manual mechanized labor as well as concepts of biomechanics that elaborate the relation between body and mind as a form of actor’s training. In the film, the movements that are recorded are also printed on the part of the film strip that is read as optical sound by the light sensitive sensor of the projector. What you hear is what you see. The image recurs as movement and the movement recurs as sound. -KS http://www.lightfieldfilm.org/light-field-party daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510892880692-ZJGCD98DLVN0GJXPVF0C/537000_421610477934398_392880573_n.jpg Light Field Party https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510895388424-VHIE54UKH0T4J6Y1Q3NF/Christinas-Installation-640x427.jpg Light Field Party http://www.lightfieldfilm.org/2017-program-2 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510733922945-4ODODIO8RD16JRH2GAJM/etude.jpg 2017 program 2 Etude Brian Lye 2017 | 3 minutes | Canada | 16mm | color | sound | international premiere A trombonist and a dolly zoom. Questionable suspense and the sound of morning fog. Etude plays with film history, repetition, and a special effect that lacks a narrative home. -BL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1511201644270-B4TRAJY1BCXNTOZXSTF8/nightmare.jpg 2017 program 2 Nightmare Arson Fire Joshua Gen Solondz 2016 | 10 minutes | USA | 16mm/performance | live sound IT'S UNDERWAY. IT HAS A FEW FORMS. IT SPEAKS HOW IT WISHES TO SPEAK. IT RUPTURES SYSTEMS. SOMETIMES I'M AFRAID OF IT. IT WANTS THE VOICE OF RESCUE, A LIV/FE. I FOUND ITS MOTHER IN A BASEMENT, A REEL LABELED NIGHTMARE ARSON FIRE. I TRIED TO REPRINT IT, TRIED TO DUPLICATE ITS BEAUTY, BUT IT DIDN'T TAKE, IT'S DIFFERENT IN CERTAIN WAYS, EVEN THOUGH I TRIED TO HELP IT. SOMETIMES WHILE IT PLAYS, THE RADIO SAYS THINGS ABOUT WOMEN AND CRIME AND FIRE, HAPPENED A FEW TIMES. SOMETIMES... I BECAME SUPERSTITIOUS. I KNOW IT WILL SPEAK. MY FATHER GAVE ME A HAT RECENTLY. IT SAYS 'TOO BAD'. I CALLED HIM UP, BUT HE COULDN'T REMEMBER WHAT IT SAID. SOMETIMES... IF I REPEAT AN ACTION,WILL I FORGET THE UNNECESSARY? DOES THAT SEEM FAIR? -JGS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510774174243-SED22WW3UOMMD2X7LJYE/Screen+Shot+2017-11-15+at+10.30.38+AM.png 2017 program 2 Brian Lye is a filmmaker and visual artist from Vancouver, Canada. Lye’s lens-based works are preoccupied with magic, humour, and the everyday. His films and animations have won awards and screened at venues including Sundance Film Festival, Melbourne International Film Festival, the Contemporary Culture Centre of Barcelona and LIVE Vancouver’s Performance Art Biennale. John Smith was born in Walthamstow, London in 1952 and studied film at the Royal College of Art, during which time he became involved in the activities of the London Filmmakers Co-op. Inspired in his formative years by conceptual art and structural film, but also fascinated by the immersive power of narrative and the spoken word, he has developed an extensive body of work that subverts the perceived boundaries between documentary and fiction, representation and abstraction. Often rooted in everyday life, his meticulously crafted films playfully explore and expose the language of cinema. Since 1972 Smith has made over fifty film, video and installation works that have been shown in independent cinemas, art galleries and on television around the world and awarded major prizes at many international film festivals. Mónica Savirón (Spain) is a filmmaker, independent curator, and writer. Currently based in New York, her work explores the cinematic possibilities of sound and avant-garde poetics. Joshua Gen Solondz is a film/media artist and musician. He’s shown work at a variety of festivals including MOMA’s Documentary Fortnight, Images Festival, video_dumbo,Toronto International Film Festival, Lima Independent Film Festival, Onion City, Chicago Underground, FICValdivia, Internationale Kurzfilmtage Oberhausen, CAAMFest, and the New York Film Festival. Josh also has screened at venues such as Light Industry, UnionDocs, Harvard Film Archive, Parsons Hall Project Space, DINCA, Plug Projects, and New York University. Mary Helena Clark is an artist working in film, video, and installation. Her work uses the language of collage, often bringing together disparate subjects and styles that suggest an exterior logic or code, to explore dissociative states through cinema. Working with quotation, the materiality of film, and incongruous sound/image relationships, Clark’s recent work explores shifting subjectivities and the limits of the embodied camera. Her films, such as After Writing (2008), And the sun flowers (2009), Sound Over Water (2009), By foot-candle light (2011), The Plant (2012), Orpheus (outtakes) (2012) and The Dragon is the Frame (2014), have been screened at International Film Festival Rotterdam, New York Film Festival, Toronto International Film Festival, Wexner Center for the Arts (Columbus), Vox Populi (Philadelphia), Anthology Film Archives (New York), Museum of Contemporary Photography (Chicago), National Gallery of Art (Washington DC), and the Brooklyn Academy of Music, among others. Brendan Glasson (b. 1985, Providence, RI) is a composer and multimedia artist based in Oakland, CA, where he is an MFA candidate in the Electronic Music and Recording Media program at Mills College. Brendan has performed works at the Centre Pompidou-Metz, the MUDAM museum in Luxembourg, and the RISD museum in Providence, RI, and has held residencies at the Hewnoaks Artist Colony in Lovell, ME. As a musician, he has performed with many diverse acts, including the Providence Research Ensemble, the William Winant Percussion Group, and Sigur Rós. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510812375135-U36FHMBNSYCYDW0EASIG/broken_tongue.jpg 2017 program 2 Broken Tongue Mónica Savirón 2013 | 3 minutes | USA | 16mm | color | sound Mainly made with images from the January 1st issues of “The New York Times” since its beginning in 1851 to 2013, Broken Tongue is a heartfelt tribute to avant-garde sound performer Tracie Morris and to her poem Afrika. -MS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510735422025-3VPXBSDX52A3ANYC6AOG/orpheus_outtakes 2017 program 2 Orpheus (outtakes) Mary Helena Clark 2012 | 6 minutes | USA | 16mm | b&w | silent "Using footage from Cocteau's Orphée, Mary Helena Clark optically prints an interstitial space where the ghosts of cinema lurk beyond and within the frames." -Andrea Picard, TIFF https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510734116806-OF764WKASXX0OQPYDFPU/om 2017 program 2 Om John Smith 1986 | 4 minutes | UK | 16mm | color | sound A short film about haircuts, clothes and image/sound relationships. "This is hard-core cinema." -Peter Kubelka https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510734488871-MFRDM55Y220MCVHUFIE4/girl_chewing_gum.jpg 2017 program 2 The Girl Chewing Gum John Smith 1976 | 12 minutes | UK | 16mm | b&w | sound "In The Girl Chewing Gum a commanding voice over appears to direct the action in a busy London street. As the instructions become more absurd and fantasized, we realize that the supposed director (not the shot) is fictional; he only describes - not prescribes - the events that take place before him. Smith embraced the 'spectra of narrative' (suppressed by structural film), to play word against picture and chance against order. Sharp and direct, the film anticipates the more elaborate scenarios to come; witty, many-layered, punning, but also seriously and poetically haunted by drama's ineradicable ghost." -A.L. Rees https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1511201701743-2UA4T6IEJ4P3FTOIE5RR/cloverleaf+interchange.png 2017 program 2 Cloverleaf Interchange Brendan Glasson 2017 | 20 minutes | USA | slide film | live music & spoken text A driver and a passenger misread a highway sign, sparking a sequence of dreams in the passenger and a sequence of daydreams in the driver. -BG http://www.lightfieldfilm.org/2017-program-5 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510703255353-288HGNWP2ISI8BH73RVV/new_sun_breathing3.jpg 2017 program 5 New Sun Breathing In Chloe Reyes 2017 | 6 minutes | USA | 16mm | color | silent An intimate portrait refracted though a web of proximate elements and living entities. -CR https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510701567913-1L3WSE6ZK6TLQG4XQTV5/blind_light 2017 program 5 Blind Light Sarah Pucill 2007 | 22 minutes | UK | 16mm | color | sound Blind Light is filmed in the artist’s London loft. The presence of camera, studio and artist/performer are registered through image and sound, the loss of the former filling out the presence of the latter. In this way the physicality of object, space and subject as well as their inferiority is fleshed out, mapping out a space that is at once material and psychical. Between aperture, eyeball, sun and moon, source and projection swap place. Blind Light explores the fold between the materiality of film, the psyche and the body. -SP https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510701039183-BNKDYJS6FRCZ1YK65AFW/KAoki_FindingsStill1+%281%29.jpg 2017 program 5 Findings Kioto Aoki 2017 | 3 minutes | USA | 16mm | b&w | silent | world premiere A navigation of space via bodies of light. -KA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510785602993-DZOF8CN3GHKCTUWJI6WQ/ride_like_lightning 2017 program 5 Ride Like Lightning, Crash Like Thunder Fern Silva 2017 | 9 minutes | USA | 16mm | color | sound Framed within the vision of the Hudson River School and the legend of Rip Van Winkle, Ride Like Lightning, Crash Like Thunder unfolds as a storm approaches on the horizon. An uncertain future is in store as the creeping hand of history disrupts nature and civility in the Hudson River regions of Upstate New York. -FS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510913587539-3NANGVIC69OD4A7EZT52/breakfast 2017 program 5 Breakfast (Table Top Dolly) Michael Snow 1976 | 15 minutes | Canada | 16mm | color | sound "Wavelength before breakfast. A continuous zoom traverses the space of a breakfast table, serving as a grand metaphor for indigestion." -Deke Dusinberre https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773130817-1QP2E25VSERLEA23BFLH/Screen+Shot+2017-11-15+at+10.30.38+AM.png 2017 program 5 Sarah Pucill has been making 16mm films since completing her MA at the Slade in 1990. Since then her films, which have all received public funding, have been screened and won awards internationally at festivals, and have been staged in museums and galleries. Her retrospective screenings have included the Tate Britain, BFI Southbank, Anthology Film Archives (NY), Pleasure Dome (Toronto), Ecole des Beaux Arts, and LA FilmForum. Kioto Aoki is a photographer and experimental filmmaker in Chicago. She is an analogue-image maker who explores different modes of perception via the nuances of time, space, form, light and movement. Recent work explores the dance film and the perception of motion between the still and the moving image. She received her MFA and BFA from The School of the Art Institute of Chicago. Brian Lye is a filmmaker and visual artist from Vancouver, Canada. Lye’s lens-based works are preoccupied with magic, humor, and the everyday. His films and animations have won awards and screened at venues including Sundance Film Festival, Melbourne International Film Festival, the Contemporary Culture Centre of Barcelona and LIVE Vancouver’s Performance Art Biennale. Joyce Wieland (1931-1998) is largely regarded as one of Canada's most influential and important artists. A multi-disciplinary artist who produced work in a wide variety of media, Wieland's intelligent and irreverent explorations of female sexuality, domestic life, ecology and Canadian nationalism put her at the forefront of feminist practice. Chloe Reyes is a filmmaker from Los Angeles, California. She studied at the California Institute of the Arts and currently works at the Echo Park Film Center. Fern Silva (b. 1982, USA/Portugal) is an artist who primarily works in 16mm. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. He has created a body of film, video, and projection work that has been screened and performed at various festivals, galleries, museums and cinematheques. He studied art and cinema at the Massachusetts College of Art and Bard College. He is Visiting Faculty at Bennington College and is based in New York. Michael Snow works in many mediums: film, photo-work, holographic work, music, bookworks, video and sound installation, sculpture, painting, drawing. His visual artworks are broadly collected and have been exhibited worldwide, including solo exhibitions at the National Gallery of Canada (Ottawa), The Hara Museum (Tokyo), The Museum of Modern Art (New York) and Centre Pompidou (Paris). His films have been shown extensively in festivals (London, New York, Rotterdam, Berlin) and are in such collections as the Oesterreichisches filmmuseum (Vienna) and Royal Belgian Film Archives (Brussels). https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510701795608-A59AY625OGGTL0ZGFU3F/water_sark 2017 program 5 Water Sark Joyce Wieland 1965 | 14 minutes | Canada | 16mm | color | sound I decided to make a film at my kitchen table, there is nothing like knowing my table. The high art of the housewife. You take prisms, glass, lights and myself to it. “The Housewife is High.” Water Sark is a film sculpture, being made while you wait. -JW https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510701074530-W76EPWOURXPGGRAA4TC2/domestic_trick_4 2017 program 5 Domestic Trick #4 Brian Lye 2016 | 3 minutes | Canada | 16mm | color | silent | international premiere This film was made for an exhibition with the theme of magic. At the time, my son was 4 months old and I was spending a significant amount of time at home. Working under this circumstance, which I viewed as a convenience and a constraint, I made work that utilized and reconsidered the manufactured purpose of objects that I found in or near our apartment. In this case: a light bulb, microwave, mason jar, and a bath towel. I brought these objects together in an attempt to create a sense of self-entertainment through the production of a homemade magic show or no-frills special effect. -BL http://www.lightfieldfilm.org/2017-program-1 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510729843518-XNPD84482QFFVHG0WP41/falling_upward 2017 program 1 Falling Upward Gail Gutierrez 2014 | 1 minute | USA | 16mm | color | sound | world premiere Circa 1890's, Los Angeles city planners designed unique stair systems that provided pedestrian access from the main streets to hillside homes. -GG https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510730801846-08MCG20BX9C0UTN5STNQ/yellow_aria 2017 program 1 Yellow Aria Tina M. Bastajian 1986 | 13 minutes | USA | 16mm | color | sound Yellow Aria is a symptomatic view of the lover at work, constantly on the edge of savoring the moments when passion and neurosis overlap. By layering different forms of expression, the film allows language and action to intertwine to demystify love and passion. Rather than a sentimental account, Yellow Aria is a humorous and ironic series of vignettes, which form confessional outbursts of the symptoms of losing the loved object of desire. Originally inspired by Roland Barthes' A Lover's Discourse, this work puts forward a decidedly female perspective, and simultaneously undercuts and sympathizes with these "out of sync" outbursts and re-situates them. Baroque pillars fill the frame to create a background for the film. The women orators, statuesque, protrude and extend from this structure while the silent man becomes embedded in the facade. This elevated architecture posits the paradox of Yellow Aria: what is ugly about love is also monumental. -TMB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510730524805-I94FSZ2A1M289UHRWJCI/shape_of_a_surface.jpg 2017 program 1 Shape of a Surface Nazlı Dinçel 2017 | 9 minutes | Turkey | 16mm | color | sound The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh. -ND https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510732482551-0WOQCC9ROWFCX7BXQK1W/non_stop_beautiful_ladies.jpg 2017 program 1 Non-Stop Beautiful Ladies Alee Peoples 2015 | 9 minutes | USA | 16mm | color | sound A Los Angeles street film starring empty signs, radio from passing cars and human sign spinners, some with a pulse and some without. -AP https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510730219331-EKQQ2DJJIALV7HIFU46P/mujer_de_milfuegos 2017 program 1 Mujer de milfuegos (Woman of a Thousand Fires) Chick Strand 1976 | 15 minutes | USA/Mexico | 16mm | color | sound A kind of heretic fantasy film. An expressionistic, surrealistic portrait of a Latin American woman. Not a personal portrait so much as an evocation of the consciousness of women in rural parts of such countries as Spain, Greece and Mexico; women who wear black from the age 15 and spend their entire lives giving birth, preparing food and tending to household and farm responsibilities. Mujer de milfuegos depicts in poetic, almost abstract terms, their daily repetitive tasks as a form of obsessive ritual. The film uses dramatic action to express the thoughts and feelings of a woman living within this culture. As she becomes transformed, her isolation and desire, conveyed in symbolic activities, endows her with a universal quality. Through experiences of ecstasy and madness we are shown different aspects of the human personality. The final sequence presents her awareness of another level of knowledge. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510732197785-NQ134RB3CF801ALG95QJ/no5_reversal 2017 program 1 No5 Reversal Josephine Massarella 1989 | 10 minutes | Canada | 16mm | b&w | sound No5 Reversal opens with a close up sequence of two women in animated conversation, followed by an aural page/station structure. The film combines elements of horizontal and vertical montage in the soundtrack, using white noise, and radio static as a fragmentation device. The visually striking black and white photography weaves lyrical, pastoral nature with the de- and re- construction of civilization. No5 Reversal ends with a filmic signature, an image of its maker framed in front of a window against a backdrop of ruins. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510732715542-YGJT3J9CMC77GKQVGH29/defenestration.jpg 2017 program 1 Defenestration Bea Haut 2015 | 5 minutes | UK | 16mm | b&w | sound Combining film and domestic structures, this film reaches beyond the frame, testing out access and escape, aperture and portal. -BH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2017 program 1 Gail M. Gutierrez is a Pinay media maker born and raised in Pasadena, California. Her art practice weaves together archived materials, self-portraiture, and reenactment. She received her MFA in Film and Video from the California Institute of the Arts and her BA in Visual Arts (Media) from the University of California, San Diego. Her thesis film, Sampaguita Love, had its world premiere at the Kassel Documentary Film and Video Festival in Germany and has shown at the Los Angeles Asian Pacific Film Festival and the Diwa Filipino Film Showcase of Seattle. Falling Upward will have its world premiere here at Light Field! Chick Strand (1931-2009) was a trailblazing free spirit and West Coast filmmaking pioneer who lyrically combined elements of documentary, ethnographic and experimental techniques to create a distinctly unique body of work. Strand played a vital role in the 1960s Bay Area filmmaking community both through her work and her involvement in the cofounding of Canyon Cinema with friend Bruce Baillie in 1961. Strand also taught film for twenty-five years at Occidental College in Los Angeles, influencing a generation of filmmakers. Meanwhile, she made frequent summer trips to Mexico, where she shot many of her films over a thirty-year career. Nazlı Dinçel’s hand-made work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Her use of text as image, language and sound imitates the failure of memory and her own displacement within a western society. Born in Ankara, Turkey, Dinçel immigrated to the United States at the age of 17. Dinçel resides in Milwaukee, WI where she is currently building an artist run film laboratory. She obtained her MFA in filmmaking from UW-Milwaukee. Her works have been exhibited in numerous venues around the world including Tiger Shorts competition at IFFR, New York Film Festival, Edinburgh International Film Festival and Dallas Contemporary. She recently won the Marian McMahon Akimbo award at the 2017 Images Festival with Untitled (2016) and was also awarded Best Experimental Film at the 2015 Chicago Underground Film Festival with Her Silent Seaming (2014). In addition to exhibiting with institutions, Dinçel avidly self-distributes and tours with her work in micro-cinemas, artist run laboratories and alternative screening spaces in order to support and circulate handmade filmmaking to communities outside of institutions. Tina Bastajian is a film/new media artist born in Los Angeles, and formulated her cinematic proclivities during the 1980's in San Francisco. In 2005 she moved to Amsterdam to continue with her curatorial and archival research in the Master's program Preservation and Presentation of the Moving Image. Her work shapes sound and image to deconstruct narrative forms and elements of the documentary. She uses layered and stylized tableaus with (re)found images often juxtaposed with multiple languages, translation and silence to explore memory, identity, erasure, displacement and desire. Her award winning works include Yellow Aria (1988), Pinched Cheeks And Slurs In A Language That Avoids Her (1995), and Remembering Fatima: A Study On Duration (2000). Josephine Massarella is an independent filmmaker based in Hamilton. Her award winning films have screened in galleries and festivals world-wide. Josephine’s primary artistic medium is 16mm film. She has a Master of Arts in Cultural Studies from Athabasca University, a graduate certificate in Advanced Film and Television from Sheridan College, and a Bachelor of Arts degree in film at the University of British Columbia. Josephine also teaches introductory filmmaking and cinema studies. Alee Peoples (born 1981, Oklahoma City) currently lives and works in Los Angeles. She maintains a varied artistic practice that involves screen‐printing, sewing, sculpture and film. A long time ago she saw Ministry play on her 15th birthday. A not-so-long time ago she and two friends did a 14-date film tour through the South/Midwest. For some time now, she 'makes a living' by installing art at museums. Bea Haut is an artist who works primarily with 16mm film in an expanded form. This manifests and behaves as sculpture, installations, projections and photography. Multi dimensional in media as well as often being site responsive, these works allude to perceptions of inter-related moments, spaces, and actions in between. Regarding the mutating dialogue between the self and her surroundings, the artist also uses the stuff of the everyday as material and subject of these works. Bea Haut was a member of Loophole Cinema in the 1990s, a ‘Hi-tech, Lo-tech and No- tech’ circus of Expanded Cinema. More recently co-producing Analogue Recurring - a 16mm screening event and informal space for experimenting with projected film; exposing and developing ideas surrounding their mechanical processes and visceral pleasures. She has recently been involved with starting up a 16mm B&W film processing service - Film in Process, at the University of East London. http://www.lightfieldfilm.org/2017-program-4 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510793300002-21T4XI14KDUKJPPTZHV6/Screen+Shot+2017-11-15+at+10.30.38+AM.png 2017 program 4 Ice J.J. Murphy 1972 | 7 minutes | USA | 16mm | color | sound Ice is a film of a film (Franklin Miller's Whose Circumference Is Nowhere) rephotographed through 50 pounds of ice. The soundtrack is a loop - sound equipment recording underwater. "Ice (1972): made in collaboration with another film-maker in Iowa. Murphy uses his friend's film projecting behind a 50 lb. block of ice. The ice, a frozen but ever-changing lens between the projector and Murphy's camera: a chilled aurora dialogue." -Mike Reynolds, Berkeley Barb https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510788729143-KQ4DH43FDU3KSNCACO7S/100ft+-+Minjung+Kim.png 2017 program 4 (100ft) Minjung Kim 2017 | 3 minutes | Korea | 16mm | color | silent | US premiere We have different sizes of feet. You are 1ft. I am 0.75ft. -MK "Minjung Kim's 100ft consists of a single uninterrupted shot, lasting an entire 100ft roll of 16mm film, as two figures with different sized feet traverse a vast, striated landscape." -TIFF https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510790852385-GTFY1YWVPZ22T3OKFTBA/rhus_typhina 2017 program 4 Rhus Typhina Alexandra Moralesová & Gregory Bagdasarov 2014 | 3 minutes | Armenia/Czech Republic | 16mm | b&w | sound One of the series of labodoble experiment of the natural (organic) film developers.The structure of the film is based on the chemical formula of the Rhus Typhina's developer. The main protagonist of the film is a species of flowering plant in the family Anacardiaceae whose leaves and berries are mixed with tobacco and other herbs and smoked by Native American tribes. We tried to apply the properties of the Rhus Typhina in the photochemistry. The film captures the research, experiments, harvesting and preparationof the film developer in which latter original negative was developed. The nonlinear structure of the chemical formula as well as nonlinear research of the process are reflected in the order of the frames. There is no post-production except the sound. All editing work was made while film was loaded in the camera before chemical development. -AM & GB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510877377416-O30RAUQ6OMWHA2H76HDK/Loose+Ends+%280%29+Esperanza+Collado.png 2017 program 4 Loose Ends Esperanza Collado 2017 | 4 minutes | Spain | 16mm | b&w | silent | international premiere https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510788533202-2GM1Y3R9A4H4EP8EHWK9/NIght+Train+%28Guy+Sherwin%29.png 2017 program 4 Night Train Guy Sherwin 1979 | 2 minutes | UK | 16mm | b&w | sound The sound of lights passing through a darkened landscape seen from a moving train. "Night Train may be seen as continuing the Vertovian tradition of employing film to reveal phenomena not normally visible to the naked eye." -Nicky Hamlyn https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510918396192-QXULEU3RX2CK5UGB05FH/Robert-Morris-Mirror-1969-still-da-video-Courtesy-the-artist-and-Sonnabend-Collection-Foundation.jpg 2017 program 4 Mirror Robert Morris 1971 | 9 minutes | USA | 16mm | b&w | silent Morris, in a winter landscape, holds a mirror to nature, and to the camera. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510788921147-AQRKTAR5XPP2T0R998KR/once_maybe_twice 2017 program 4 Once. maybe twice; or The clockwork of summer Dicky Bahto 2013/2017 | 3 minutes | USA | super 8 | b&w | silent | theatrical premiere https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510877624357-QFUEUANYWUJ1GMY2VV6E/cr-17+big.jpg 2017 program 4 Cube and Room Drawings David Haxton 1977 | 15 minutes | USA | 16mm | color | silent Restored print courtesy of the Academy Film Archive Cube and Room Drawings begins with a view looking down at an angle toward grey paper covering the floor. A performer enters from the back of the scene and begins drawing lines on the floor. The lines are the beginning of a drawing of a distorted cube. The performer leaves the scene. The paper begins to rotate on the floor. As the paper rotates the cube gradually becomes correctly oriented, as if it were drawn on a vertical piece of paper. The performer enters again and draws another cube that corresponds to the perspective of the other cube. After leaving and re-entering the performer draws red receding lines on the floor. He leaves and the paper rotates and the red lines become a grid that corresponds to the vertical screen. The film continues with several additional actions that continue this theme. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510786211023-GX3TX3EJ1E6VHH222U97/in+its+form+asleep 2017 program 4 In its form asleep Antoinette Zwirchmayr 2016 | 3 minutes | Austria | 16mm | color | silent Antoinette Zwirchmayr's serenely composed images create a calm, surrealistic atmosphere of transformation. As if time were suspended, her still lives linger with lucid clarity in a state between dream and consciousness. A male body, seen through the filmmaker's lens, reveals abstract, sculpted forms reminiscent of classical statues. Breathing softly, the dreamer is alive. The quail eggs resting atop his upper legs conjure up thoughts of birth and rebirth (through sleep). While the images seem to be corresponding silently with one another in a dreamlike logic, the film projector hums, shedding light on interior and exterior and back again. -Light Cone https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773130817-1QP2E25VSERLEA23BFLH/Screen+Shot+2017-11-15+at+10.30.38+AM.png 2017 program 4 Antoinette Zwirchmayr born 1989 in Salzburg, Austria. Studied at the Academy of Fine Arts Vienna. Her works have been featured in festivals including International Short Film Festival Oberhausen (D) Indielisboa (P), Toronto International Film Festival (CND), Media City Film Festival (CND), New Horizons Film Festival (PL), CPH: DOX (DK), Ann Arbor Film Festival (USA), FID Marseille (F). She has been awarded with the Start-Up Grant for Young Film Artists (Arts and Culture Division of the Federal Chancellery of Austria 2017), Annual grant for photography (Land Salzburg 2017), Simon S. Filmaward (2016), Kodak Cinematic Vision Award (Ann Arbor Film Festival 2016), Best Innovative Film Award, Diagonale - Festival of Austrian Film (2016), Annual grant for film (Land Salzburg 2014), Best short documentary Award - Diagonale, Festival of Austrian Film (2014), Sponsorship Award (Salzburger Kunstverein 2014), Birgit-Jürgenssen-Award (2013). Esperanza Collado (Valencia, 1976) works with installation, environment-performances, film and written work that engage with the philosophical vocation of cinema and the spacial and choreographic possibilities of projection. Her book Paracinema: la desmaterialización del cine en las prácticas artísticas received the Spanish prize "Escritos sobre arte" in 2011. Her acclaimed environment-performance We Only Guarantee the Dinosaurs (2014-15) was described by Jodie Mack as "a carefully constructed choreography […] through an earnest investigation of the essence of cinema (pre-, present, post-) and its possibilities. […] The future of a thriving cinema(rt) relies upon efforts like [this]". Collado’s works have been shown in Close-Up Cinema (London), BEEF (Bristol), Palais des Beaux-Arts (Brussels), MACVal (Paris), Images Festival (Toronto), Tate Modern (London), Biennial of Havana (Cuba), Filmbase (Dublin), Art Cinema OFF-off (Ghent), Museum of Contemporary Art of Tehran (Iran), Art Centre Ongoing (Tokyo), Anthology Film Archives (New York), etc. In 2008 she co-founded the Experimental Film Club in Dublin. She has curated film programmes and exhibitions for Museum of Contemporary Art of León, Close-Up Cinema, Irish Film Institute, thisisnotashop Gallery and Biennial of Havana. Together with Rafa Martínez del Pozo, she runs LEVE, a record label that releases annual editions of field recordings on 45rpm vinyl made by invited artists. She lectures at the Fine Arts College in Cuenca (Spain). Guy Sherwin Studied painting at Chelsea School of Art in the late 1960s. His subsequent film works often use serial forms and live elements, and engage with light, time and sound as fundamental to cinema. Recent works include installations made for exhibition spaces and performance collaborations with Lynn Loo working with multiple projectors and optical sound. He taught printing and processing at the London Film-Makers' Co-op (now LUX) during the mid-70s.His films were included in Film as Film Hayward Gallery 1979, Live in Your Head Whitechapel Gallery 2000, Shoot Shoot Shoot Tate Modern 2002, A Century of Artists Film & Video' Tate Britain 2003/4. He lives in London and teaches at Middlesex University and University of Wolverhampton. Minjung Kim was born in Seoul, South Korea. She completed her MFA in film and video at the California Institute of the Arts. Her directorial credits include FOOTAGE (15) and Australian Paper(15). (100ft) (17) is her latest short. Dicky Bahto lives in Los Angeles. He has exhibited work utilizing still and motion picture photography, sound, and performance at a variety of museums, galleries, microcinemas, film festivals, conferences, alternative spaces, and scenic locations spanning the Northern Hemisphere, including commissions from Monday Evening Concerts and The Huntington. As a member of the EPFC Co-op, he is a co-recipient of an inaugural Artist Project Grant from the Mike Kelley Foundation for the Arts. His interest in music has led him to both collaborate with and perform works by various composers, including Casey Anderson, Ashley Bellouin, Luciano Chessa, Julia Holter, and Mark So. In addition to creating album art for some of the above musicians, he has made several music videos for Julia Holter, and his portraits of artists including Julia Holter, Laida Lertxundi, and Tashi Wada have been printed in The New York Times, Bomb, Vogue España, The Wire, MOJO, among other publications. Alee Peoples (born 1981, Oklahoma City) currently lives and works in Los Angeles. She maintains a varied artistic practice that involves screen-printing, sewing, sculpture and film. Along time ago she saw ministry play on her 15th birthday. A not-so-long time ago she and two friends did a14-date film tour through the South/Midwest. For some time now, she 'makes a living' by installing art in art museums. David Haxton (b. 1943, Indianapolis Indiana) is an artist who works primarily in photography and film. His current work is concentrated in the use of the photographed image. As it has always been, Haxton's work is approached from a painter's perspective and more specifically current thinking that is sourced in objectivity, intermingled with process and materials. In the early seventies he moved away from painting and made the film installation "Four Screen Films". The piece is about the reconstruction of one space into another. Several other installation films were made during that time, each with the purpose of reconstructing one space within another. His first New York exhibition of these film installations was at Sonnabend Gallery. It was a group exhibition of films with Vito Acconci, John Baldessari and David Shulman. He showed the Installation film Three Changes. His most recent solo exhibition was at Gavlak Gallery in Palm Beach Florida, November 2012. In 2012 his film Painting Room Lights was included in a semi permanent exhibition titled "Watch This! New Directions in the Art of the Moving Image" at the Smithsonian American Art Museum. The Smithsonian has also included Haxton's films in their permanent collection. The Whitney Museum has recently acquired sixteen of his films for their permanent collection. His films are included in the permanent collection of the MoMA. Selected other collections include: The Indianapolis Museum of Art, Albright Knox Gallery, National Gallery of Art, Canberra, Australia, Maslow Collection in Scranton, Pa., Denver Museum of Art, and the Chicago Art Institute. Alexandra Moralesová was born in 1989 to Czech mother and Argentinian father. She studied at the Centre of Audiovisual Studies at The Film faculty of the Academy of Performing Arts in Prague (FAMU). Beyond the inspiration by the practices of experimental film, she's mainly interested in remediation of found footage and found objects. Through various ways of viewing it, those objects represent for her its own possibility of de/construction in order to cross the frontier between analog and digital media and so disrupt the spectacle and alternate existing narratives. It`s been several years that she explores the post-production tools as for example the editing table or film viewers. The output of her works is often a performance, film screening or installation. Georgy Bagdasarov was born in Armenian family in 1978 to the sounds of rockets taking off into space from Kazakhstan. He never boarded any of those rockets and spent all his life living in various locations throughout Eurasia. Now he lives and works in Prague. His work explores the space between analog and digital, and merges them together. His works are created under strong influence of structural films, cooking recipes and syntax of computer codes. He combines different media: digital and film stock as well as music and food. Robert Morris (born February 9, 1931 in Kansas City, Missouri) is an American sculptor, conceptual artist and writer. He is regarded as one of the most prominent theorists of Minimalism along with Donald Judd but he has also made important contributions to the development of performance art, minimalism, land art, the Process Art movement and installation art. Morris lives and works in New York. Andrew Kim is an filmmaker who received his MFA from School of Film/Video at the California Institute of the Arts in 2013. His work is inspired by the material properties of cinema and its unique ability to reify abstract ideas and ineffable feelings. Combining formal experimentation with at concern for the phenomenology of the cinematic experience, Andrew’s films are an attempt to understand the movement of the mind. Ultimately, he hopes to transcend the exact mechanics of motion pictures such that a film might articulate a new knowledge. J.J. Murphy is an independent filmmaker. He teaches Film in the Department of Communication Arts at the University of Wisconsin-Madison. He is the author of Me and You and Memento and Fargo: How Independent Screenplays Work (Continuum Books, 2007, 290 pages) and The Black Hole of the Camera: The Films of Andy Warhol (University of California Press, 2012, 303 pages). https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510791553518-HHFC85XWPME1Q2AWUJ0H/some_unseen_lights 2017 program 4 Some Unseen Lights Andrew Kim 2012 | 5 minutes | USA | 16mm | b&w | silent Three times the same strip of film. -AK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510789230696-S5P962E73YDBAB9VIXTG/venus_delta 2017 program 4 Venus Delta Antoinette Zwirchmayr 2016 | 4 minutes | Austria | 16mm | color | silent "In Zwirchmayr's short film Venus Delta a sequence of dreamlike scenes unfolds quietly. Set in an otherworldly layered landscape of rock formations by a pristine mountain spring, an atmosphere of eerie feminity pervades the images. Round, golden objects of unknown origin lie scattered about mysteriously. Somehow they seem connected to or springing from a nearly motionless young woman whose face is hidden behind a voluptuous, almost menacingly grand, mass of hair. Seen only in fragments and shot from odd angles, the body remains anonymous at all times. A surreal quality infests these visually sumptuous quasi- still lifes, accentuating barely noticeable tensions between human form and nature, body and object, between male and female forces in minute details. When a slightly moving bulk of shiny dark hair fills the screen it almost appears to conceal the entrance to a dark vaginal chamber of secrets. Watching the curious golden balls float out of sight down the slow-moving stream channels feelings of loss and longing as well as more positive notions of departure, promise and adventure." -Julia Dossi https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510946427168-7N8OQ9R6LBGJ76NEG7BD/Las+acciones+duran_2+%281%29.jpg 2017 program 4 Las acciones duran Esperanza Collado 2017 | 6 minutes | Spain | 16mm | color | silent | international premiere https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510918678482-TLRJN01EOKKFP8L5DPU2/decoy_fenceshadow_lrg.jpg 2017 program 4 Decoy Alee Peoples 2017 | 11 minutes | USA | 16mm | b&w | sound | world premiere Comparing walls and bridges. The weight of human accuracy. Language matters. -AP http://www.lightfieldfilm.org/2017-program-6 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510794978639-NZ2MOWAV3I4S9HYG35P9/gehr 2017 program 6 Behind the Scenes Ernie Gehr 1975 | 5 minutes | USA | 16mm | color | sound https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510796519522-XOGEOQOJDFJ0J0PDDNX9/ikarus 2017 program 6 Ikarus Hans Breder & Chuck Hudina 1973 | 2 minutes | USA | 16mm | b&w | silent A slow-motion dive at 3,000 frames per second. -HB & CH RIP Hans Breder (October 20, 1935 – June 18, 2017) https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510795371328-ZYKOI6WEXT5SU73SXFTT/across_the_border 2017 program 6 Across the Border Dana Plays 1982 | 8 minutes | USA | 16mm | color | sound Completed in 1982, during a period in which many American artists were trying to convey their anger with their own country's politics. Across the Border transcends the conventions of social documentary as we have come to know it through public television. Instead, Plays manipulates visual elements that compose the image through coloring and fragmentation. She uses this process of deconstruction to lead to a greater understanding of those "man-made" constructs that are responsible for the oppression she has witnessed. But Plays' message is hardly dogmatic. The subtlety of her collage-like style suggests a very open message, giving the viewer the opportunity to enter the work as a thinking human being rather than a receptacle of one person's point of view. -Lynne Sachs https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773130817-1QP2E25VSERLEA23BFLH/Screen+Shot+2017-11-15+at+10.30.38+AM.png 2017 program 6 Toney W. Merritt has been an independent filmmaker for close to 50 years, completing over 30 personal films and videos; experimental, narrative and documentary. His films have screened at various venues such as the La Cinémathèque Française, Paris, London Film-Makers’ Co-operative, Anthology Film Archives, New York, Pacific Film Archive, Berkeley, the Oakland Museum of California, the de Young Museum, San Francisco Cinematheque, New Nothing Cinema, San Francisco, and the Ann Arbor and Mill Valley Film Festivals. Canyon Cinema currently distributes over twenty of his film titles spanning 1970 to 1998 and included Merritt in the Canyon Cinema Pop-Up (2013) exhibition at Kadist, San Francisco. He taught film production and digital editing at City College San Francisco for 18 years, and screenwriting for the San Francisco State University’s Digital Video Intensive Program. He was invited to present as a writer/director at the 2007 Squaw Valley Community of Writer’s Conference, and invited in 2008 to serve as a screenwriting instructor. Merritt was the Program Director for the Mendocino Film Festival from 2014–2015 and curated the inaugural Healdsburg Flix Mix Short Film Festival in 2016. Merritt has served on several Boards of Directors including San Francisco Film Arts Foundation. He has also served as a panelist for various festivals such as the SF International Film Festival and as a grant panelist for Independent Television Service, (ITVS) and the Rockefeller and Jerome Foundations. Merritt received his MFA in 1979 from the San Francisco Art Institute. He is based in Healdsburg, California. The films of Ernie Gehr investigate deceptively simple materials and landscapes of everyday encounter as radically potent portals into the continually unfolding mysteries hidden beneath the surface of our perception. Gehr’s intuitive capacity for elegantly executed, yet perpetually probing works bring new light to a shifting definition of the “experimental” in film. A self taught filmmaker who became a central figure in the fields of Structural Film and the avant-garde communities of New York and San Francisco as well as a long time teacher in of the SFAI Film Department, Gehr continues to make works that expand and investigate our ways of seeing. Milada Kovacova is a visual artist turned filmmaker, who spent her childhood both in North America and behind what was then the Iron Curtain. Her films include Skin Flick, The Dance of Life, Continuum, Dislocation, and Dislocation II. Dana Plays is an award winning experimental filmmaker, digital artist and professor of Film and Media Arts at The University of Tampa. Her work has exhibited at the Whitney Museum of American Art in the exhibition The Color of Ritual, The Color of Thought: Women Avant-Garde Filmmakers in America 1930-2000, programmed by Whitney curator by Chrissie Isles, as well as other notable venues including the Pacific Film Archive, SF Cinematheque and more than 50 international film festivals where her films have garnered 25 film festival awards. Plays' work consists of a variety of approaches to experimental documentary and the visual film, utilizing optically printed found footage and/or footage that she has shot. Plays lived in the San Francisco Bay Area for twenty years, where she was involved in the experimental film, music, theater and art scene, while attending California College of the Arts, where she received two degrees, BFA (1978) in General Fine Arts exploring photography printmaking and film, and MFA in Film and Video (1986), and while also working at the San Francisco Art Institute (1984-1990). In the 1990s she taught in Syracuse University, and later at Occidental College, in Los Angeles (1996-2004), prior to her appointment at The University of Tampa (2005 to the present). Shiho Kano After graduating from Musahino Art University with B.A Degree in Imaging Arts & Sciences (Tokyo, Japan) , I studied at the institute of Image Forum between 1997 and 1999. I have been working on films, videos, video installations and photo works since 1996 and then organized some screening events and exhibitions. My art works have been screened at film/video festivals and museums in over 15 countries. From 2005 to 2006, I stayed at Cité Internationale des Arts in Paris after receiving “Paris prize” from Musashino Art University and support from Nomura Cultural Foundation and Japanese Government’s Study Program instituted by Agency for Cultural Affairs for Promising Artists and Art Fellowships. Returning to Japan In 2006, I am hard at work now in Tokyo. Amy Halpern is a New York filmmaker, living & working in Los Angeles. Since childhood, composing with movement and light, and making 16mm abstract films since 1972. Taught film for many years, most recently 7 years at U.S.C, also at California State University L.A., Cal. State Northridge, Otis-Parsons Art Institute and a second grade class in L.A. Unified School District. She has collaborations (lights, camera, person) with Charles Burnett's My Brother's Wedding, Pat O'Neill's The Decay of Fiction, Julie Dash's Illusions and David Lebrun's Breaking the Maya Code and Dance of the Maize God. She also appears in several of Chick Strand's films, Soft Fiction, Krystalnacht, Cartoon Le Moose & Fever Dream. Born and raised in New York City, Halpern studied & performed in modern dance with Anna Sokolow & Lynda Gudde, worked in the early 1970s in 3-D shadow-play with Ken Jacobs' New York Apparition Theatre and co-founded New York's Collective For Living Cinema with 3 other guys. Henry Hills has been making dense, intensely rhythmic experimental films since 1975. A longtime resident of New York's East Village, he has ongoing working relationships with the L=A=N=G=U=A=G=E Poets, composer John Zorn, and choreographer Sally Silvers. Since 2005 he has been Visiting Professor at FAMU, the Czech national film academy in Prague, and currently lives in Vienna. He received a 2009 John Simon Guggenheim Memorial Fellowship & his films, which are included in the permanent collection of the Museum of Modern Art, are available on DVD from Tzadik. His most recent work, arcana, was awarded Best Experimental Film at both Curtas Vila do Conde festival in Portugal and the Melbourne International Film Festival in Australia. His films, with an eccentric humor, seek abstraction within sharply-focused naturalistic imagery & the ethereal within the mundane, promoting an active attentiveness through a relentlessly concentrated montage. Since 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose’s background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent video installations have involved a return to an examination of landscape, time, and vision. Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts, and is fond of writing descriptions in the third person. Rose Lowder I trained as a painter and sculptor in Lima, Peru, then in London. I worked for a decade as an artist while earning a living as a film editor. I became interested in research in film from 1977 onwards, establishing with Alain-Alcide Sudre a non-profit organization, the Experimental Film Archives of Avignon. The Archives have become a collection of 16mm films as well as a paper document collection. The first is made available to the public with films rented from other sources by means of annual screenings and the second can be consulted freely as a reference library. At one point I wrote a doctoral dissertation entitled "The Experimental Film as an Instrument for Visual Research." I also teach a filmmaking course at the Sorbonne, Paris, with the grand title of Associate Professor. Although I began filmmaking by pursuing concerns common to other contemporary art practices, my attention was rapidly attracted by a twofold feature of the photographic procedure which allows one to handle the content and the form of the material while the process inscribes automatically some of the traces and characteristics of the reality being recorded. This paradox led me to study perception, the possibilities and problematics of research in art as well as how theoretical approaches to experimental film and traditional cinema have evolved. Underlying these studies is a search for meaningful ways to work with film regarding our contemporary society controlled by multinational economics. As the totalitarian environments of urban landscapes become more and more uninhabitable, I seek, against the grain in our "virtual" space age it seems, a more human physical home. Like Kandinsky, Malevich and Mondrian for Hans Breder the task of art, as a kind of thought, is spiritual. His work seeks to articulate and evoke an ineffable power beyond reason and unreason. Against the monumental materialism of Western culture, over the last six decades, Breder’s intermedial sensibility has been expressed in and between painting, sculpture, photography, music, installation, video and film--each expression an invitation to subversive liminality and momentary transcendence. Breder’s work dissolves boundaries and manipulates perception, sometimes enticing, sometimes shocking the observer to an experience of liminality from which a realm of pure possibility may emerge. One of the first video artists whose work has been included in three Whitney Biennials, Hans Breder founded the Intermedia Program in the School of Art & Art History at the University of Iowa and directed it until his retirement as a Distinguished Professor in 2000. The internationally regarded program built on Breder’s interdisciplinary inclination for intellectual and aesthetic collision. Chuck Hudina is a filmmaker, photographer and mixed-media artist. He freelances as a cameraman and has lived in the Bay Area for 35 years. Born in Cleveland , Ohio in 1952...his first documentary Grease 1974 was about growing up in Collinwood,...an urban neighborhood with race riots. He attended the University of Iowa from 1971-1975 earning a B.A in Film and from 1975-1977 earning an M.A in Multimedia from Hans Breder. While in this program he shot films with artists Charles Ray and Ana Mendieta. It was in Iowa City that he completed his second documentary feature, Howie 1978. He joined Canyon Cinema in 1980 and moved to the Fillmore neighborhood in San Francisco. There he began a street film that is nearing completion... In The City... and finished his third documentary feature, Tenderloin Blues 1987. He came out west to San Francisco to work in the clear light and shot Kodachrome 25 stills from 1980-1990. Moving to Napa for thee years, 2002-2005 He worked with the Rene DeRosa Art and Nature Preserve and made mixed-media art objects. He has also worked with Craig Baldwin on the multi-projector Glass Haus raves 1985-1987 in SOMA. From that experience, he developed his own thee projector piece called World in a Camera. Chuck Hudina has three feature documentaries that are in currently in post-production and continues to do his Signs and Symbols of the City. He Surfs, Mountain Bikes, soaks in Hot Springs and lives in Bolinas, California. Stephanie Beroes was born in 1954 in Pittsburgh. She received B.A. from the University of Pittsburgh where she studied Film History with William Judson. She holds a Master of Fine Arts in Filmmaking from the San Francisco Art Institute in 1978, where she studied with Gunvor Nelson, James Broughton, and Malcolm LeGrice. Stephanie is a founding member of Pittsburgh Filmmakers, Inc, and the first Programmer of the Pittsburgh Filmmakers Screening Room from 1972-1976. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510795293914-LQJ130MRH5HJ7F6E6XWG/merritt 2017 program 6 EF Toney W. Merritt 1979 | 4 minutes | USA | 16mm | color | silent https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510799246928-3ZXXXK0GKU4RDR2Y67TJ/canyon50 2017 program 6 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510795892304-KJVLYGGUGTXJ6UNFNJLJ/SSS 2017 program 6 SSS Henry Hills 1988 | 6 minutes | USA | 16mm | color | sound SSS is composed from footage of movement improvised on the streets of pre-gentrified East Village by Sally Silvers, Pooh Kaye, Harry Shepperd, Lee Katz, Kumiko Kimoto, David Zambrano, Ginger Gillespie, Mark Dendy, and others, painstaking synched to music previously improvised for the project at Noise New York by Tom Cora (cello), Christian Marclay (turntables), and Zeena Parkins (harp). Beauty emerging from rubble. Fantastic 80’s fashions. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510796938572-RLQGU87J6W2EHTOWBAV9/valley_fever 2017 program 6 Valley Fever Stephanie Beroes 1979 | 20 minutes | USA | 16mm | color | sound Inspired by Merleau-Ponty's statement, "there is a perpetual uneasiness in the state of being conscious," this film has to do with questions of perception, the way we see things. In an experimental, non-narrative context, the film presents a man and a woman who carry on a disjunctive conversation, superficially about the effects of illness on perception, actually about their mutual inability to perceive the world from any other than a personal viewpoint. They each set up a projector and show each other footage of their respective hallucinations under the influence of fever - images of the desert, palms, swimming pools, and the American suburban landscape. The hallucination sequences make a lyrical counterpoint to the formal, structured lip-sync sequences. -SB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510796336229-YIHM1T79LX284EUWW3LO/lowder_parcelle_1.jpg 2017 program 6 Parcelle Rose Lowder 2079 | 3 minutes | France | 16mm | color | silent Composed frame by frame in the camera, Parcelle (fragment, particle or bit) rests upon the alternate appearance and variable duration of tiny colored squares or circles placed on black backgrounds and inserted in series between plain white or colored images. Although the film, filmed frame by frame, may appear conventional on a technical level, this is not the case conceptually as it has been conceived to pin point situations requiring the sense of perception to process images in various time lengths according to the characteristics viewed, a procedure which provokes the experience of optical superimpositions on the screen. -RL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510799378533-SB4936IFU4NZHJN2FGYL/image-asset.png 2017 program 6 February 20, 1967 is the day Canyon Cinema Co-op was officially incorporated as a business in San Francisco, CA. For fifty years, Canyon has served as a one of the world’s preeminent sources for artist-made moving image work. We are celebrating this milestone with screening series in the San Francisco Bay Area; US and international touring programs showcasing newly created prints and digital copies; and an educational website including new essays, ephemera, and interviews with filmmakers and other witnesses to Canyon’s 50-year history. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510795557278-2H8G5MM83YC22NTH3B6K/rocking_chair 2017 program 6 Rocking Chair Shiho Kano 2000 | 13 minutes | Japan | 16mm | color | sound Human eye adjusts the brightness of the light automatically, but Camera eye can control the brightness freely. Camera eye can see the darkness in the light of day, and can turn the dusk into the morning sunshine. When the white room is getting darker and lighter, you surely witness that form is sublimated. -SH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510795738551-WARMEKUOF8I271D4A68J/elixir 2017 program 6 Elixir Amy Halpern 2012 | 7 minutes | USA | 16mm | color | silent With Asha Wilson & Joyce Cambell https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510796086763-TGK3I3R8TT4VRKVK77G2/Screen+Shot+2017-11-15+at+10.30.38+AM.png 2017 program 6 Studies in Diachronic Motion Peter Rose 1975 | 3 minutes | USA | 16mm | color | silent A first experiment in diachronic motion: the simultaneous presentation of an action from several different perspectives in time. -PR https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510795082087-JPW91CVELV9BY4AZ7FJI/The+Dance+of+Life+Milada+Kovacova.png 2017 program 6 The Dance of Life Milada Kovacova 1990 | 8 minutes | Canada | 16mm | color | sound "The Dance of Life features the extended monologue of a first generation Canadian woman. This stream-of-consciousness reflects a discourse of existence fractured among many 'characters' seen in the film. The Dance of Life is a dizzying exploration of many people in the process of becoming many other people. For inevitably this cyclical dance, this tautology of existence leads us to 'la vie, c'est la mort.'" -Steve Reinke http://www.lightfieldfilm.org/2017-program-8 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510931018193-H7YY354CA7YZLXTAEMCE/18595286_1334784336617003_7910086507668162718_o+%281%29.jpg 2017 program 8 Light Music Lis Rhodes 1975-1979 | 25 minutes | UK | 16mm | b&w | sound In this groundbreaking work, Rhodes plays with our preconception of film by presenting the soundtrack as a series of horizontal and vertical lines that were drawn with pen and ink on the optical edge of the filmstrip. These are projected onto two opposite facing screens in a hazy room. As the films roll, they appear as an ‘optical soundtrack’. What the viewer hears, on the other hand, is the audible equivalent of the alternating images on the screens. The space between the two screens turns the beams into airy sculptural forms consisting of light, shadow and smoke, which encourages the viewer to move around the room. This in turns destroys conventional film watching codes and turns the film into a collective practice where the audience is expected to intervene into the work and thus, become the performer. This work was the artist’s reaction to what she perceives as a lack of interest and appreciation of European women composers. Thus in Light Music, Lis Rhodes interweaves cinematic practices with a range of topics from gender politics to phenomenological experience. -Deren Erelçin The film is not complete as a totality; it could well be different and still achieve its purpose of exploring the possibilities of optical sound. It is as much about sound as it is about image; their relationship is necessarily dependent as the optical soundtrack “makes” the music. It is the machinery itself that imposes this relationship. The image throughout is composed of straight lines. It need not have been. – Lis Rhodes https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510930873989-Z1SZ34QVVOGB6YUPZEC5/light+music+lis+rhodes.png 2017 program 8 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2017 program 8 Lis Rhodes (born 1942, London) is a major figure in the history of artists’ filmmaking in Britain and was a leading member of the influential London Filmmakers’ Co-op. She currently lives and works in London, where a survey exhibition of her career, Lis Rhodes: Dissonance and Disturbance, was held at the ICA from January to March 2012. http://www.lightfieldfilm.org/2017-program daily 0.75 2018-05-19 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510801488215-QOCMJRS2NKQBXDNDB6NS/wasteland 2017 Program Program 7 Sunday, December 10th @ 7pm, 2017 The Lab ▴ Christina Hunt ▴ Fern Silva ▴ Ignacio Tamarit ▴ Guillaume Cailleau ▴ Ben Russell ▴ Tinne Zenner ▴ Jodie Mack ▴ Brigid McCaffrey ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510799793623-DRL1Y816QF109B3E3RHE/elixer 2017 Program Program 6 Co-presented by Canyon Cinema Foundation Sunday, December 10th @ 5pm, 2017 The Lab ▴ Toney W. Merritt ▴ Ernie Gehr ▴ Milada Kovacova ▴ Dana Plays ▴ Shiho Kano ▴ Amy Halpern ▴ Henry Hills ▴ Peter Rose ▴ Rose Lowder ▴ Hans Breder ▴ Chuck Hudina ▴ Stephanie Beroes ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510864421763-SM6YSCF0T1Z7TG9Z4JY9/mothlight2.jpg 2017 Program Stan Brakhage: Metaphors on Vision Presented in association with San Francisco Cinematheque & Canyon Cinema Foundation Friday, December 8th, 2017 @ 7:30pm Yerba Buena Center for the Arts ▴ Light Industry's Thomas Beard in person ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510826492698-PI1GS4ZS1NV5X7SDJCAG/fassbinder.jpg 2017 Program Light Field Expanded Cinema Soirée Friday, December 8th, 2017 @ 10:30pm The Lab ▴ Joshua Gen Solondz ▴ Christina C. Nguyen ▴ Topazu ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510919202530-T90MN5IF4PTMVUJ0CX3N/Venus+Delta+2.png 2017 Program Program 4 Saturday, December 9th, 2017 @ 7pm The Lab ▴ Antoinette Zwirchmayr ▴ Esperanza Collado ▴ Guy Sherwin ▴ Minjung Kim ▴ Dicky Bahto ▴ Alee Peoples ▴ David Haxton ▴ Alexandra Moralesová ▴ Georgy Bagdasarov ▴ Robert Morris ▴ Andrew Kim ▴ J.J. Murphy ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510929497362-R47WH2LRF4AMK4BE486N/rhodes-light-music-tate-tanks-1975.jpeg 2017 Program Program 8 Sunday, December 10th @ 9pm, 2017 The Lab ▴ Lis Rhodes ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510775739921-ALGJS2M2XNIHDAFI10DR/RTP07.jpg 2017 Program Program 1 Thursday, December 7th, 2017 @ 7pm The Lab ▴ Gail Gutierrez ▴ Chick Strand ▴ Nazlı Dinçel ▴ Tina M. Bastajian ▴ Josephine Massarella ▴ Alee Peoples ▴ Bea Haut ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510774985761-H0KADQTCFHMFWYOMDOMR/a_century_plant_in_bloom 2017 Program Program 3 Saturday, December 9th, 2017 @ 5pm The Lab ▴ Gonzalo Egurza ▴ Cherlyn Hsing-Hsin Liu ▴ Mónica Savirón ▴ Francesco Gagliardi ▴ Julie Murray ▴ Ross Meckfessel ▴ Carolee Schneemann ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510785518560-CW5L5UB21UQPSJTRB0P8/ride_like_lightning 2017 Program Program 5 Saturday, December 9th, 2017 @ 9pm The Lab ▴ Sarah Pucill ▴ Kioto Aoki ▴ Brian Lye ▴ Joyce Wieland ▴ Chloe Reyes ▴ Fern Silva ▴ Michael Snow ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510781830276-BAGG8TJES4EVEPUZPCVF/broken_tongue 2017 Program Program 2 Thursday, December 7th, 2017 @ 9pm The Lab ▴ Brian Lye ▴ John Smith ▴ Mary Helena Clark ▴ Brendan Glasson ▴ Mónica Savirón ▴ Joshua Gen Solondz ▴ http://www.lightfieldfilm.org/2017-program-3 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510733081139-2LEC2I4CUO4YWID6OYWL/answer_print 2017 program 3 Answer Print Mónica Savirón 2016 | 5 minutes | USA | 16mm | color | silent "The fading that devastates color films occurs in the dark. It is accelerated by high temperatures and, to a lesser extent, relative humidity. Dye fading is irreversible. Once the dye images have faded, the information lost cannot be recovered" -Image Permanence Institute https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510688984683-CBA3WYB42R0YH6UG1FG8/if_you_stand 2017 program 3 If You Stand With Your Back to the Slowing of the Speed of Light in Water Julie Murray 1999 | 18 minutes | UK | 16mm | color | sound The film aims to illuminate a vital sense innate to perception where inversion is counterbalance and focal myopia the articulation of space -JM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510733169710-WFR9VYE4CO87SM0D5JFP/a_century_plant_in_bloom 2017 program 3 A Century Plant in Bloom Ross Meckfessel 2017 | 10 minutes | USA/Morocco/Hong Kong | 16mm | color | sound "I remember one day sitting at the pool and suddenly the tears were streaming down my cheeks. Why was I so unhappy? I had success. I had security. But it wasn't enough. I was exploding inside." - Ingrid Bergman A cry for help in the form of a pop song. A village cast as a simulacrum of the past by Oliver Stone and Ridley Scott, Pasolini and Scorsese. As the future starts devouring the present, how can we hope to remember the past? Pics or it never existed. For Ingrid and Roberto. -RM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510733192174-9S9CEE9O788QQ264SPK0/plumb_line 2017 program 3 Plumb Line Carolee Schneemann 1972 | 18 minutes | USA | 16mm | color | sound Breaking down, splitting apart, burning up: a relationship and the film itself. Edited from scrap diary footage shot in 8mm, hand printed as 16mm. PLUMB LINE is a moving and powerful subjective chronicle of the breaking up of a love relationship. The film is a devastating exorcism, as the viewer sees and hears the film approximate the interior memory of the experience. -CS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510733102944-8B1MJLIHB31DSOWQ2KCG/how_old_are_you_still 2017 program 3 How Old Are You? How Old Were You? Cherlyn Hsing-Hsin Liu 2017 | 16 minutes | USA | 16mm | color | sound | US premiere Inspired and shot on 16mm film using Camera Obscura techniques, "How Old Are You? How Old Were You?" fractures the logic of time to contemplate bringing one back to the origin, the womb. A dialogue between two selves – infant and adult, the film traverses through a series of psychological events, transforming memories, emotions, thoughts and imagination. -CHL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510770718460-POXQ45EOQ6RQNORA71DI/Screen+Shot+2017-11-15+at+10.30.38+AM.png 2017 program 3 Born in Buenos Aires in 1984, Gonzalo Egurza graduated at the Universidad del Cine in Buenos Aires where he studied film direction. He teaches at Universidad Nacional de Tres de Febrero and Universidad del Cine, subjects related to Experimental Film and Video-art. He is a founder member of the collective ARKHÉ, focused on research and management of art and audiovisual productions. His audiovisual works consist in independent productions such as Experimental Film, Video, Multimedia and Installations. He has been awarded with the 1st price in the Independent Film Festival of La Plata 2011; with the Argentinean creation award in the Bienal de la Imagen en Movimiento (BIM) 2012. With an honorable mention in the 22nd Curtas Vila do Conde. And the Public award in Fedaxv 2015. Mónica Savirón (Spain) is a filmmaker, independent curator, and writer. Currently based in New York, her work explores the cinematic possibilities of sound and avant-garde poetics. Born in Taiwan, Cherlyn Hsing-hsin Liu is a multimedia artist, filmmaker and writer. Previous works close-ups (2014) and Matryoshka (2015) have been screened in the US, Canada, Finland, Taiwan and others. Currently she experiments in celluloid and alchemy techniques to explore self-thinking and reflection. She is a MFA student in the School of Film/Video at California Institute of the Arts. Francesco Gagliardi is a performance artist, writer and occasional filmmaker based in Toronto. His work has been presented internationally in venues including Issue Project Room (Brooklyn, NY); The Ontological-Hysteric Theater (NYC), The Stone (NYC), The Wulf (Los Angeles), Pieter (Los Angeles), Echo Park Film Center (Los Angeles), Esorabako (Tokyo), Fondazione Mudima (Milano), the Images Festival (Toronto), Harbourfront Centre (Toronto), Pleasure Dome (Toronto) and TIFF Wavelengths (Toronto). His films include: Short Sentences: 1993-2005 (2005), Translation#6: Shuang Shuang Yan (2009), Film: Rope (2015), and some cities (2017). Drawing on her background in the Fine Arts, filmmaker Julie Murray makes short experimental works in digital and film media which are poetical in nature, engaging the textural imprints and limits of the form as an essential element of pictorial content. Her film and digital works have been exhibited at numerous national and international venues including the New York Film Festival, the Hong Kong International Film Festival, the International Film Festival Rotterdam, the London Film Festival and the Flaherty Film Seminar. Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often utilize pop music, appropriated commercial images, and horror tropes emphasizing materiality and poetic structure while exploring apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including CalArts, Onion City Film Festival, DOBRA - Festival Internacional de Cinema Experimental, and The 100 Dollar Film Festival where he was awarded best 16mm film. Carolee Schneemann is a multidisciplinary artist. Transformed the definition of art, especially discourse on the body, sexuality, and gender. The history of her work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic relationship with the social body. Painting, photography, performance art and installation works have been shown at Los Angeles Museum of Contemporary Art; Whitney Museum of American Art; Museum of Modern Art, NYC; Centre Georges Pompidou, Paris; and most recently in a retrospective at the New Museum of Contemporary Art in New York entitled “Up To And Including Her Limits”. Film and video retrospectives Centre Georges Pompidou, Paris; Museum of Modern Art, NY; National Film Theatre, London; Whitney Museum, NY; San Francisco Cinematheque; Anthology Film Archives, NYC. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510733129387-LO9AGNVNJ70K4HZUTFMI/some_cities 2017 program 3 Some Cities Francesco Gagliardi 2017 | 2 minutes | Canada | 16mm | color | silent ...when skies at night when wind and buses and streetlights when window when glass when houseplant and mountain when stars and cars and traffic lights when flickering sign when windswept skies when chair and curtain when wall and pillow when wet reflection wash when silver light when void when fall when open night... -FG https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510733056076-QG2TRGN53OLZYB5B5GGL/untitled2.png 2017 program 3 UNTITLED (windmills) Gonzalo Egurza 2015 | 3 minutes | Argentina | Super 8 | B&W | silent An animated portrait of windmills in Patagonia, Argentina. -GE http://www.lightfieldfilm.org/metaphors-on-vision daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510824226698-12INOR82SEYDL3R45ZXI/image-asset.jpeg Metaphors on Vision https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510824320139-6THZYFUNEPTELTUI1WZ9/anticipation_of_the_night2.jpg Metaphors on Vision https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510823284929-HO3AWCV4MX9G7PCAH1VK/Screen+Shot+2017-11-15+at+10.30.38+AM.png Metaphors on Vision from San Francisco Cinematheque: "Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of “Green”? How many rainbows can light create for the untutored eye? How aware of variations in heat waves can that eye be? Imagine a world alive with incomprehensible objects and shimmering with an endless variety of movement and innumerable gradations of color. Imagine a world before the 'beginning was the word.'" -Stan Brakhage, Metaphors on Vision First published in 1963, Stan Brakhage’s Metaphors on Vision remains one of the most challenging and inspiring artistic statements of avant-garde cinema by one of its most influential figures, a treatise on mythopoeia and the nature of visual experience written in a style as idiosyncratic as his art. Long out of print and highly collectible, Anthology Film Archives and Light Industry proudly announce the republication of a new definitive edition of Metaphors, featuring a full facsimile of the original 1963 design by George Maciunas and copious annotations by P. Adams Sitney (as well as the inclusion of Sitney’s 1998 introduction to the 1998 French translation). Light Industry’s Thomas Beard appears in person to present and discuss the book and to present Brakhage’s 1959 masterpiece Anticipation of the Night along with Brakhage's The Dead (1960) and the camera-less classic Mothlight (1963). Copies of Metaphors on Vision will be available at the screening and are also available from Cinematheque’s online bookstore. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510824124207-OHMTK81QPNTVLCX5VGEE/mothlight2.jpg Metaphors on Vision http://www.lightfieldfilm.org/2017-program-7 daily 0.75 2018-05-11 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510705885581-DUCWCGHTIZM2V8FV4AES/moments_from_the_fall 2017 program 7 Moments from the Fall Christina Hunt 2013 | 6 minutes | USA | 16mm | color | silent The fall into a deep internal processing of one’s past becomes a repetitive act on the verge of over analysis, revealing and breaking down layers. Submerged in the gravity of life changes one is pushed to step forward to a free fall. Yielding control, sharing visions of a present experience, the journey becomes an aesthetic release from formality, a lightness of being. -CH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510729389125-WM0F1ZKL6CC2D470WQYP/CastaicLake2.jpg 2017 program 7 Castaic Lake Brigid McCaffrey 2010 | 29 minutes | USA | 16mm | color | sound Taking its course, the camera drifts in to the coves and surveys the shorelines of a multi-use reservoir to unearth fragments of its young history and consider a series of possible relationships to this artificial environment. Visits are filled with a sense of potentials and the unseen, the lake’s surface separating what is buried and what is to come. Municipal orchestrations, recreational episodes, and small pageants trace this body’s perimeter. -BM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510706331483-GX36NP99YI5RK4F1TDDG/pifies 2017 program 7 ¡PíFIES! Ignacio Tamarit 2016 | 4 minutes | Argentina | 16mm | color | sound ¡PíFIES! (from the Spanish slang “mistake”) is the kind of film I would like to see when I screen home movies, but that I never end up finding. From clippings of my own collection of home-movies, I built a rhythmic collage where at first the focus was placed on the films’ technical problems: violent pans, out of focus, insane zooms, abrupt cuts or what would have been discarded by the cineaste instead of being kept in the final cut. However, ¡PíFIES! ends up being an eulogy to the home movie filmmaking, to the construction of these amateur handmade films, to the filmmakers who shoot their families, their exotic trips and their daily lives so that they can be remembered. -IT https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510706144693-DV1SLKRX1TTSZSF3JJMM/watchmen 2017 program 7 The Watchmen Fern Silva 2017 | 10 minutes | USA | 16mm | color | sound In The Watchmen, pulsating orbs, panopticons, roadside rest stops, and subterranean labyrinths confront the scope of human consequences and the entanglement of our seeking bodies. Regressions in missing time, caught in the act of captivity, confined to the carceral and perpetuated by movie sets, television sets, and alien encounters at bay. The corporeal cycle of control revolves as steadily as the sight of those who watch from above. -FS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773318651-5JCHC4EPXQH1B9KZ4WSL/Screen+Shot+2017-11-15+at+10.30.38+AM.png 2017 program 7 Christina Hunt From an early adolescent age Christina has been compelled to document the experiences of her family and the world around her. Her goal as an artist is to create an honest emotional experience where form and content are in conversation with each other, ultimately revealing a space for reflection. Christina’s films have screened at various screenings and festivals including the Coolidge Corner Theater in Brookline, MA and Anthology Film Archives in New York, NY. She is a founding member of the Boston based AgX Film Collective. Professionally she works in various post production roles. For the past ten years Christina has been DIT, assistant editor and sound editor for Cambridge based documentary filmmaker Frederick Wiseman. For nine years she has been the Film Post Production Manager at Emerson College guiding students and professors throughout their entire production process. Fern Silva (b. 1982, USA/Portugal) is an artist who primarily works in 16mm. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. He has created a body of film, video, and projection work that has been screened and performed at various festivals, galleries, museums and cinematheques. He studied art and cinema at the Massachusetts College of Art and the Milton Avery Graduate School of the Arts at Bard College. He is Visiting Faculty at Bennington College and is based in New York. Ignacio Tamarit (1991, Buenos Aires, Argentina) is a filmmaker, teacher and musician. He studied at the Centro de Investigación Cinematográfica and at the Facultad de Filosofía y Letras, Universidad de Buenos Aires. He has given film workshops at the Big Sur Contemporary Art Gallery, C3 Centro Cultural de la Ciencia y Lumiton Museo del Cine Usina Audiovisual, where he also works as an archivist, programmer and film curator. His films have been exhibited at the Museo de Arte Contemporáneo de Mar del Plata (Argentina), Centro Cultural San Martin (Argentina), Palais de Glace (Argentina) Onion City Film Festival (USA), Slamdance Film Festival (USA), Festival Internacional de Cine de Mar del Plata (Argentina) BAFICI (Argentina) Edinburgh International Film Festival (Scotland), (S8) Mostra de Cinema Periférico (Spain), Exis Experimental Film And Video Festival (Korea), Festival Internacional de Cine Lima Independiente (Peru), KLEX (Malasia), Linoleum Festival of Contemporary Animation and Media Art (Ukraine), Antimatter Media Art (Canadá), Curta 8 (Brazil), Los Angeles Film Forum (USA) among others. Guillaume Cailleau (b.1978, France) is an artist and filmmaker interested in everyday occurrences who reveals their extraordinary aspects by representing them in unusual forms and contexts. Influenced by American avant-garde and Expanded Cinema, the formal elements of his films comment directly on their subjects and foreground the production process; they often feature anti-spectacular approaches to extreme situations. His solo work has been shown worldwide in film festivals and museums. His short film LABORAT won the Silver Bear Jury Prize at the Berlin International Film Festival in 2014. Ben Russell (b.1976, USA) is an artist and filmmaker whose work lies at the intersection of ethnography and psychedelia. His films and installations are in direct conversation with the history of the documentary image, providing a time-based inquiry into trance phenomena and evoking the research of Jean Rouch, Maya Deren and Michael Snow, among others. Russell received a 2008 Guggenheim Fellowship, a FIPRESCI International Critics Prize (IFFR 2009) for his first feature film Let Each One Go Where He May, and is an exhibiting artist in documenta 14. His second feature film, A Spell to Ward Off the Darkness (co-directed with Ben Rivers), premiered at the Locarno International Film Festival in 2013. Curatorial projects include Magic Lantern (Providence, USA, 2005-2007), BEN RUSSELL (Chicago, USA, 2009-2011), and Hallucinations (Athens, Greece, 2017). He currently resides in Los Angeles. Tinne Zenner (b. 1986, Denmark) is a visual artist and filmmaker based in Copenhagen. She holds an MFA from The Royal Danish Academy of Fine Arts. Working with analogue film and 3Danimation, her work explores the physical structures, in which layers of history, politics and collective memory are embedded. Her work has been shown at a number of international film festivals including Ann Arbor Film Festival, Projections - New York Film Festival, CPH:DOX, Image Forum Tokyo, Sheffield Fringe and Courtisane Festival. Zenner is a co-founder and member of Sharna Pax, a film collective based in London and Copenhagen working between the fields of anthropology, documentary and visual arts. Jodie Mack is an experimental animator who received her MFA in film, video, and new media from The School of the Art Institute of Chicago in 2007. Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres, her handmade films use collage to explore the relationship between graphic cinema and storytelling, the tension between form and meaning. Musical documentary or stroboscopic archive: her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. The works unleash the kinetic energy of overlooked and wasted objects and question the role of decoration in daily life. Mack's 16mm films have screened at a variety of venues including the Ann Arbor Film Festival, Edinburgh International Film Festival, Images Festival, Projections at the New York Film Festival, and the Viennale. She has presented solo programs at the 25FPS Festival, Anthology Film Archives, BFI London Film Festival, Harvard Film Archive, National Gallery of Art, REDCAT, International Film Festival Rotterdam, Shenzhen Independent Animation Biennale, and Wexner Center for the Arts among others. Her work has been featured in publications including Artforum, Cinema Scope, The New York Times, and Senses of Cinema. Named one of Filmmaker Magazine's 2014 "25 New Faces to Watch" and one of the Yerba Buena Center for the Arts' YBCA 100 in 2015, she is an Associate Professor of Animation at Dartmouth College. She is a 2017/18 Film Study Center Fellow and Roberta and David Logie Fellow at the Radcliffe Institute for Advanced Study at Harvard University. Brigid McCaffrey is a Los Angeles-based filmmaker whose work focuses on environments and people in precarious states of flux. She has exhibited internationally at festivals and venues including BAFICI, DocLisboa, the Hammer Museum, MOCA , IFFR, Other Cinema in San Francisco and the Los Angeles Filmforum. Castaic Lake was awarded Best Cinematography at the Ann Arbor Film Festival in 2011. Paradise Springs received the Marian McMahon Award at Images Festival in 2014, and was presented by Ballroom Marfa for the 2015 edition of Artists’ Film International. She was a featured artist at the 2016 Flaherty Seminar. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510706910802-SW7APV5EEYNT79JOHADA/arrabida 2017 program 7 Arrábida Tinne Zenner 2017 | 16 minutes | Portugal/Denmark | 16mm | color | sound A film centered on the production of landscape and concrete in the Arrábida Natural Park, Portugal. Covering a vast area of coast, caves, mountains and forest, the park is inhabited by a massive concrete factory that branches through the landscape. Documenting the various layers of the sourced material, the factory body and the constructed landscape, the film looks at how time is physically embedded in the matter and how the molecular particles act in a circular re-shaping of the whole. The film merges 16mm footage shot in the area of Arrábida with 3D animation of the topographic landscape as an equal analogue layer. Há só uma terra. There is only one earth. -TZ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510803818608-M0JOJTJ7XMR44R8GTW9G/wasteland 2017 program 7 Wasteland No. 1: Ardent, Verdant Jodie Mack 2017 | 4 minutes | USA | 16mm | color | silent A eulogy for wasted potential sends the out of date to the out of body: trash to treasure. An appetite for destruction charts the product life cycle, interrupting the horizon through an intersection of perspectives. -JM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510706625305-3LJOVV1OIGKQURT4M54D/austerity_measures 2017 program 7 Austerity Measures Guillaume Cailleau & Ben Russell 2012 | 9 minutes | Greece/Germany | 16mm | color | silent A color-separation portrait of the Exarchia neighborhood of Athens, Greece, made during the Anti-Austerity protests in late 2011. In a place thick with stray cats and scooters, cops and Molotovs, ancient myths and new ruins; where fists are raised like so many columns in the Parthenon, this is a film of surfaces - of grafitti'd marble streets and wheat-pasted city walls - hand-processed in red, green, and blue. -GC & BR http://www.lightfieldfilm.org/2019-program-3 daily 0.75 2019-03-14 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550020441654-B3T1T443RG6TX7NILFYP/3+peonies+still+1.jpg 2019 program 3 3 peonies Stephanie Barber 2017 | 3 minutes | USA | 16mm | color | sound A brief, poetic 16mm film on a simple sculptural action. What becomes apparent is the humor possible in material interactions and the tender and sometimes melodramatic symbolism of cut flowers. What begins as a reverence for natural beauty ends up pointing towards the abstract expressionism and color field work of high modernism which, in many cases eschewed the banality of such ‘natural’ beauty. The collaged soundtrack suggests weightier concerns, gently insistent behind the flatness of the utilitarian sounds of ripping tape. -SB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550250133548-JYIISD1ENLRP19C4P6AF/GMSA_still_02.jpg 2019 program 3 Gold Moon, Sharp Arrow Malic Amalya & Max Garnet 2012 | 11 minutes | USA | 16mm | color | sound Against a backdrop of electrocution, dominance, and scientific precision, wasps nest in an abandoned refrigerator, curtains blow in open windows, and queers congregate. Adapting Stanley Milgram's 1963 experiment on obedience to authority, Gold Moon, Sharp Arrow straddles tensions between language as a site of transgression and of regulation. -MA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550022323122-BADZPO4JZ4N2UKP4C6WH/Screen+Shot+2019-02-12+at+7.44.18+PM.png 2019 program 3 Lyra Hill is a cartoonist, filmmaker, and performer who lives in Chicago. She created and organized the performative-comix reading series Brain Frame between 2011 and 2014. Lyra works mostly with 16mm and S8mm, and focuses on the avant-garde in both her film and comics work. Sally Decker is a composer, performer, writer and improviser based in Oakland, CA. She explores the emotional potential of sounds as portals of connection. Her approach to form and process is psychological and sensory, rooted in the goal of strengthening a reflective focus toward our internal intuitive worlds. Recent interests include feedback systems, the voice, and utilization of language in performance. In 2017 she released an album on NNA Tapes entitled Living Pearl under the moniker Multa Nox. Sally is currently pursuing her MFA in Electronic Music and Recording Media at Mills College. Stephanie Barber is an American writer and artist. She has created a poetic, conceptual and philosophical body of work in a variety of media. Her videos are concerned with the content, musicality and experiential qualities of language and her language is concerned with the emotional impact of moments and ideas. Each ferry viewers through philosophical inquiry with the unexpected oars of empathy, play, story and humor. Her videos are distributed by Video Data Bank and her films can be found at Canyon Cinema and Fandor.com. Her books Night Moves and these here separated... were published by Publishing Genius Press in 2013 and 2010 respectively. Her collection of very short stories All The People was published by Ink Press Productions in 2015. Barber is currently a resident artist at The Mt. Royal MFA for Interdisciplinary Art at MICA in Baltimore, MD. Malic Amalya is queercore filmmaker working in 16mm and video. He lives in Oakland and teaches at the California College of the Arts and City College of San Francisco. George Kuchar was born in New York City in 1942 and is one of a twin (Mike Kuchar is the other half). At an early age the twins made pictures on paper and on 8-mm movie film, and later attended the High School of Industrial Art in N.Y.C. (which is now the High School of Art and Design). Employed in the world of commercial art in Manhattan, George Kuchar was later laid off from work and never went back to that snake-pit; instead, he embarked on his movie career full-time. Having been introduced to the avant-garde film scene in the early 1960s, he acquired an audience for his low-budget dramas and was hired by the San Francisco Art Institute to teach filmmaking. In 1985 he began making 8-mm video diaries and has completed about 50 works in that medium. The works are edited in-camera and there are no post-production embellishments to bloat the budget, so the low-budget tradition continues in full swing. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1552606755169-LMDQUEDP62A10EWSTPAD/Sally%2BDecker%252C%2Bphoto.jpg 2019 program 3 imagining for lost time Sally Decker 2019 | 12 minutes | USA | sound performance imagining for lost time is an investigation of the lush multiplicity within a self. to embody the present calls for a negotiation of the imprint of past selves and the belief in imagined future selves. our pasts outline what the present self knows to be true, thus defining - and often restricting - possibilities for imagined future. the performance draws a process of attempting to know oneself while the self is constantly changing, to seek self-growth through presence, unflinching clarity, and empowered knowing. the piece is adapted from its original form for three voices and electronics. -SD https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550171053419-QLK9C4T53FKSZK9FC9QA/uzi2.jpg 2019 program 3 Uzi's Party Lyra Hill 2017 | 30 minutes | USA | 16mm | color | sound In this experimental teen dramedy, five young women gather for a Ouija session and gossip, bicker and flirt until someone gets possessed. All effects in camera. -LH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550021072927-EL3JAFIL1DNCVMSMHDO5/i-an-actress.jpg 2019 program 3 I, An Actress George Kuchar 1977 | 10 minutes | USA | 16mm | b&w | sound This film was shot in ten minutes with four or five students of mine at the San Francisco Art Institute. It was to be a screen test for a girl in the class. She wanted something to show producers of theatrical productions, as the girl was interested in an acting career. By the time all the heavy equipment was set up the class was just about over; all we had was ten minutes. Since 400 feet of film takes ten minutes to run through the camera… that was the answer: Just start it and don’t stop till it runs out. I had to get into the act to speed things up so, in a way, this film gives an insight into my directing techniques while under pressure. -GK http://www.lightfieldfilm.org/2019-program daily 0.75 2020-03-08 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550170899445-H0QXDIRQKFZM10T2TKKU/uzi3.jpg 2019 Program Program 3 Saturday, March 16, 2019 @ 5pm The Lab ▴ Lyra Hill ▴ Sally Decker ▴ Stephanie Barber ▴ Malic Amalya ▴ George Kuchar ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550170872635-RMQ39PIMFAQ12I957EWZ/between%2Brelating2.jpg 2019 Program Program 2 Friday, March 15, 2019 @ 9pm The Lab ▴ Kioto Aoki ▴ Malic Amalya ▴ Greta Snider ▴ Wenhua Shi ▴ Sofia Canales ▴ Nazlı Dinçel ▴ Sílvia das Fadas ▴ Cauleen Smith ▴ Guillaume Vallée ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1553472680310-ZDXM9DQHW2TCHOUSFLFG/Barbara-Hammer2.png 2019 Program Barbara Hammer tribute co-presented with Canyon Cinema Sunday, March 16, 2019 @ 6pm The Lab ▴ Barbara Hammer ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550258598903-JIA6633F0NNGTDZREJKO/vision%2Bintertropical.jpg 2019 Program Program 6 Sunday, March 17, 2019 @ 7 pm The Lab ▴ Steve Polta ▴ Kioto Aoki ▴ Eric Stewart ▴ Josh Lewis ▴ Adriana Vila Guevara ▴ Amy Halpern ▴ Henry Hills ▴ Annalisa Quagliata ▴ Aldo Tambellini ▴ Esther Urlus ▴ Lily Jue Sheng ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1549755185018-JX4DT7LMLSQWXMXERWS4/14611_Comfort_Stations_Stills_3.jpg 2019 Program Program 1 Friday, March 15, 2019 @ 7pm The Lab ▴ Stephanie Barber ▴ JJ Murphy ▴ Nazlı Dinçel ▴ Alee Peoples ▴ Anja Dornieden & Juan David González Monroy ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550620438581-6YBRWWJDH1I4B80QL3OP/cyclone%2Btracery.jpg 2019 Program Program 7 Sunday, March 17, 2019 @ 9 pm The Lab ▴ Paul Sharits ▴ Richard Tuohy & Dianna Barrie ▴ Bill Brand ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550171380087-B3WDTDEEHJO4FA0KH9PZ/A+RETURN+01.jpg 2019 Program Program 4 Saturday, March 16, 2019 @ 7pm The Lab ▴ Eva Kolcze ▴ Sandra Davis ▴ Ernie Gehr ▴ Emmanuelle Negre ▴ Deborah Stratman ▴ James Edmonds ▴ Rose Lowder ▴ Rob Daglish ▴ Philip Hoffman ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550174150773-0XW4COUUKAD6YEMHSMSC/FallenArches_3.jpg 2019 Program Program 5 Saturday, March 16, 2019 @ 9pm The Lab ▴ Meganelizabeth Diamond ▴ Karissa Hahn ▴ Alexander Stewart ▴ Simon Liu ▴ Ross Meckfessel ▴ Anja Dornieden & Juan David González Monroy ▴ Lucy Kerr ▴ Andrew Busti ▴ http://www.lightfieldfilm.org/2019-program-4 daily 0.75 2019-03-02 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550168584699-CSH4X1BOOXPQ1OZ4B9N4/Rear-Window.jpg 2019 program 4 Rear Window Ernie Gehr 1991 | 10 minutes | USA | 16mm | color | silent "A view from a Brooklyn apartment sublimates Hitchcock's voyeurism into a frenzied engagement with the visible. The film varies exposure or racks focus so that the flickering, spatially ambiguous patterns that press the limits of the frame momentarily dissolve themselves as tree branches or a fire escape or a shadow caught on the screen of someone's laundry rippling in the breeze. 'I cupped one of my hands in front of the camera lens and attempted to make tactile to myself light, color and image,' Gehr explains in his notes, linking the film to his father's death and calling it a 'hopeless attempt' to render the ephemeral tangible." -J. Hoberman https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550171217875-BTGECTMQDG3IZ6YCJF9I/A%2BRETURN%2B03.jpg 2019 program 4 A Return James Edmonds 2018 | 6 minutes | UK | 16mm | color | sound To return again. To re-align is the object of these visits, perhaps. Geography of origin becoming catalyst for an inner re-alignment with the secret, private, unspoken work of one’s being. Peering into layers, sliding planes of windows and time, the fragmentary gesture of the dance. A series of rapid contrasts, a synthesis of elemental and everyday experience. Structures shift and intermingle, two worlds become one. -JE https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550168647987-I4VNV3VA3GBYZJND0Z2W/souslesoleil_1.jpg 2019 program 4 Sous de Soleil Rose Lowder 2011 | 4 minutes | France | 16mm | color | sound In the heat of summer solar panel reflections blend with butterflies on flowers and a little bird eating the mulberries. -RL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550169580672-XN91FFBSK13JFOWR2GZU/chimera-car.jpg 2019 program 4 Chimera Philip Hoffman 1995 | 15 minutes | Canada | 16mm | color | sound In 1989 I finished the film Kitchener-Berlin and put a close to a cycle of work which dealt directly with myself, and how self is expressed/constructed cinematically. At the same time I took my old super-8 camera out of the closet, and began collecting images, using the single-frame-zoom. Cubist in its visual delivery, the single-frame-zoom builds a splayed reality that brings together disparate vantage points simultaneously, and serves as the glue that blends and bonds peoples, places and spaces in Chimera. -PH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2019 program 4 Eva Kolcze is a Toronto-based artist who creates films and installations that investigate themes of landscape, architecture and the body. Her work has screened at venues and festivals including the National Gallery of Canada, Musée d’art contemporain de Montréal (MAC), Anthology Film Archives, the Gardiner Museum, Nuit Blanche, Cinémathèque québécoise, Birch Contemporary and the Images Festival. Sandra Davis is a San Francisco-based experimental filmmaker and curator whose work has been exhibited at film showcases and festivals worldwide, including the Museum of Modern Art, New York; Museum of Modern Art, Pompidou Center, Paris. She has held teaching positions at the School of the Art Institute of Chicago, the University of South Florida, and the San Francisco Art Institute. She has lectured widely in the US and Europe on experimental cinema and its place within modern and contemporary art. The films of Ernie Gehr investigate deceptively simple materials and landscapes of everyday encounter as radically potent portals into the continually unfolding mysteries hidden beneath the surface of our perception. Gehr’s intuitive capacity for elegantly executed, yet perpetually probing works bring new light to a shifting definition of the “experimental” in film. A self taught filmmaker who became a central figure in the fields of Structural Film and the avant-garde communities of New York and San Francisco as well as a long time teacher in of the SFAI Film Department, Gehr continues to make works that expand and investigate our ways of seeing. Emmanuelle Nègre is born in France in 1986 and studied at the Villa Arson School of fine Art where she got Master in 2010. She was co-director at Catalyst Arts's Belfast from 2011 to 2013. Also resident at La Station in Nice from 2013 to 2017. In 2017 she started to program screenings under the name Fovéa. Emmanuelle is showing her work locally and internationally as part of exhibitions and screening. Deborah Stratman is an artist and filmmaker interested in landscapes and systems. Much of her work points to the relationships between physical environments and human struggles for power and control that play out on the land. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets, exodus and faith. She has exhibited internationally at venues including the MoMA (NY), Centre Pompidou (Paris), Hammer Museum (LA), Mercer Union (Toronto), Witte de With (Rotterdam), Tabakalera (San Sebastian), Film Museum (Vienna), Whitney Biennial (NY) and festivals including Sundance, Viennale, Berlinale, CPH/DOX, Toronto, Oberhausen, True/False, and Rotterdam. Stratman is the recipient of Fulbright, Guggenheim and USA Collins Fellowships, an Alpert Award, Sundance Art of Nonfiction Award and grants from Creative Capital, Graham Foundation, and Wexner Center for the Arts. She lives in Chicago where she teaches at the University of Illinois / UIC. James Edmonds is a filmmaker and painter from England living in Berlin. His work is driven by a personal poetics which explores the intersection of the recorded image as a material, formal reality and subjective experience as a synthesis of everyday existence and memory. His films, paintings and sound works are sometimes combined in space along with found materials, suggesting complex overlapping subjectivities and landscapes. He has presented work at film festivals such as TIFF Toronto, NYFF New York, L’ ge d’Or Brussels, Flex Fest Florida, Process Festival Riga and Fronteira Festival Brasil. Solo presentations have occurred at 3 137 Athens, Cinema Parenthèse Brussels, Nocturnal Reflections Milan, Auslands-Filme Berlin and Another Vacant Space Berlin. He occasionally also writes and since 2015 organizes a film series in Berlin called Light Movement. Rose Lowder I trained as a painter and sculptor in Lima, Peru, then in London. I worked for a decade as an artist while earning a living as a film editor. I became interested in research in film from 1977 onwards, establishing with Alain-Alcide Sudre a non-profit organization, the Experimental Film Archives of Avignon. The Archives have become a collection of 16mm films as well as a paper document collection. The first is made available to the public with films rented from other sources by means of annual screenings and the second can be consulted freely as a reference library. At one point I wrote a doctoral dissertation entitled "The Experimental Film as an Instrument for Visual Research." I also teach a filmmaking course at the Sorbonne, Paris, with the grand title of Associate Professor. Although I began filmmaking by pursuing concerns common to other contemporary art practices, my attention was rapidly attracted by a twofold feature of the photographic procedure which allows one to handle the content and the form of the material while the process inscribes automatically some of the traces and characteristics of the reality being recorded. This paradox led me to study perception, the possibilities and problematics of research in art as well as how theoretical approaches to experimental film and traditional cinema have evolved. Underlying these studies is a search for meaningful ways to work with film regarding our contemporary society controlled by multinational economics. As the totalitarian environments of urban landscapes become more and more uninhabitable, I seek, against the grain in our "virtual" space age it seems, a more human physical home. Rob Daglish is a London based artist filmmaker. Born in Kitchener-Waterloo, Ontario, Philip Hoffman’s filmmaking began with his boyhood interest in photography. As semi-official historian of family life, Hoffman became intrigued by questions of reality in photography and later in cinema. After completing his formal education which includes a Diploma in Media Arts at Sheridan College and a Bachelor of Arts in Literature at Wilfrid Laurier University, Hoffman began working on his films, as well as teaching film, electronic and computer-based media in the Media Arts Program at Sheridan College. Currently Hoffman teaches in the Cinema and Media Arts Department at York University. A film artist of memory and association, Philip Hoffman has long been recognized as Canada’s pre-eminent diary filmmaker. He apprenticed in Europe with Peter Greenaway in 1985, where he made ?O,Zoo! (The Making of a Fiction Film) (1985), which was nominated for a Canadian Genie Award. Hoffman has been honored with more than a dozen retrospectives of his work. Since 1994, he has been the artistic director of the Independent Imaging Retreat (Film Farm), a one week workshop in artisanal filmmaking in Mount Forest, Ontario. In 2016 Hoffman received the Governor General’s Award in Visual and Media Arts. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550024904844-NGKR7528KFLDC5Q0UK5L/for%252Ba%252Byoung.jpg 2019 program 4 FOR A YOUNG FILMMAKER Sandra Davis 2014 | 7 minutes | USA | 16mm | color | sound FOR A YOUNG FILMMAKER is a shorter form, an ode - a kind of little story without a narrative. Ode in the french sense of a reverie for a moment in time, and for me, a passion of place. All vocal material exists in english and in french, so as to be understood by both native speakers. French is used also for its sonorous qualities, and because it is so exact, and at moments, so capricious, in its whimseys of potential metaphor. All vocal material exists in english and in french, so as to be understood by both native speakers. French is used also for its sonorous qualities, and because it is so exact, and at moments, so capricious, in its whimseys of potential metaphor. -SD https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550023809258-R9C53XPHPW7TJPCF89FH/FACING_5.jpg 2019 program 4 Facing the Waves Eva Kolcze 2016 | 4 minutes | Canada | 16mm | color | silent A study of light and shadows on a late summer afternoon. -EK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550167579075-18OECXE2Z05P739GCUKL/seaside3.jpg 2019 program 4 Sea side Emmanuelle Negre 2018 | 4 minutes | France | 16mm | color | sound Seaside is an experimental found footage film. People are playing and having fun at the beach. Removing the emulsion on people's silhouettes erase identity and what the film was made for, fixing people's image throughout time and memory. -EN https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550249967960-KRRWF0TSNQANV23LJD9R/waking%2Bup2.jpg 2019 program 4 Waking With a Dead Arm Rob Daglish 2018 | 3 minutes | UK | 16mm | color | sound A neurological short story told through edited archival film. -RD https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550167919299-0WQP6TQRPSQ7V5HZK6MD/magicians%2Bhouse.jpg 2019 program 4 The Magician's House Deborah Stratman 2007 | 6 minutes | USA | 16mm | color | sound Sometimes the supernatural lingers plainly in the most ordinary places, secret only in so much as its trace goes unnoticed. Both a letter to a cancer stricken alchemist-filmmaker friend, and a quiet tribute to the vanishing art of celluloid, The Magician’s House is full of ghosts. Including that of Athanasius Kircher, inventor of the Magic Lantern or “Sorcerer’s Lamp”. The music, “La lutte des Mages” (The Struggle of the Magicians) was composed by Armenian mystic Georges Gurdjieff and Thomas De Hartmann. Gurdjieff thought man was a "transmitting station of forces." To him, most people move around in a state of waking sleep, so he sought to provide aural conditions that would induce awareness. -DS http://www.lightfieldfilm.org/2019-program-1 daily 0.75 2019-03-02 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2019 program 1 Stephanie Barber is an American writer and artist. She has created a poetic, conceptual and philosophical body of work in a variety of media. Her videos are concerned with the content, musicality and experiential qualities of language and her language is concerned with the emotional impact of moments and ideas. Each ferry viewers through philosophical inquiry with the unexpected oars of empathy, play, story and humor. Her videos are distributed by Video Data Bank and her films can be found at Canyon Cinema and Fandor.com. Her books Night Moves and these here separated... were published by Publishing Genius Press in 2013 and 2010 respectively. Her collection of very short stories All The People was published by Ink Press Productions in 2015. Barber is currently a resident artist at The Mt. Royal MFA for Interdisciplinary Art at MICA in Baltimore, MD. JJ Murphy has been active as a filmmaker since 1971 and is interested in American Indie Cinema, screenwriting, avant–garde cinema, contemporary art, and the films of Andy Warhol. His films have been screened at the Museum of Modern Art, the Whitney Museum of American Art, the National Gallery of Art, and the Centre Georges Pompidou. Nazlı Dinçel’s hand-made work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Her use of text as image, language and sound imitates the failure of memory and her own displacement within a western society. Born in Ankara, Turkey, Dinçel immigrated to the United States at the age of 17. Dinçel resides in Milwaukee, WI where she is currently building an artist run film laboratory. She obtained her MFA in filmmaking from UW-Milwaukee. Her works have been exhibited in numerous venues around the world including Tiger Shorts competition at IFFR, New York Film Festival, Edinburgh International Film Festival and Dallas Contemporary. She recently won the Marian McMahon Akimbo award at the 2017 Images Festival with Untitled (2016) and was also awarded Best Experimental Film at the 2015 Chicago Underground Film Festival with Her Silent Seaming (2014). In addition to exhibiting with institutions, Dinçel avidly self-distributes and tours with her work in micro-cinemas, artist run laboratories and alternative screening spaces in order to support and circulate handmade filmmaking to communities outside of institutions. Alee Peoples (born 1981, Oklahoma City) maintains a varied artistic practice that involves screen-printing, sewing, sculpture and film. Currently living in Los Angeles, she has taught youth classes at Echo Park Film Center and shown her sculpture and film work at GAIT and 4th Wall. She is inspired by pedestrian histories, pop song lyrics and invested in the hand-made. Anja Dornieden and Juan David González Monroy are filmmakers based in Berlin. They work together under the moniker OJOBOCA. Together they practice Horrorism, a simulated method of inner and outer transformation. Since 2010 they are members of the artist-run film lab LaborBerlin. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1549752941649-LUMP549PYQ96TGJ9O9F8/the+parent+trap+still+2.jpg 2019 program 1 the parent trap Stephanie Barber 2017 | 3 minutes | USA | 16mm | color | sound Another in a series of sculptural pieces I’m currently building. Like its partner, 3 peonies, this is a short 16mm film made as a memorial for my grandmother who passed away this spring, her voice can be heard singing a bit of song. What goes when the body goes? How many parents have we got stacked upon us into eternity like ladders to the afterlife? -SB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1549753806252-U4VIG7WOKCGL4B4EYS99/jj%2Bmurphy.jpg 2019 program 1 Sky Blue Water Light Sign JJ Murphy 1972 | 9 minutes | USA | 16mm | color | sound “Sky Blue Water Light Sign is best seen in total innocence.” -Scott MacDonald https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550171578994-F07ZUI8BXI04AFG51LFN/instructions2.jpg 2019 program 1 Instructions on How to Make a Film Nazlı Dinçel 2018 | 13 minutes | USA | 16mm | b&w | sound Shot at the Film Farm in Mt.Forest, this comedy is a quest about performance, educational voiceover, analogue filmmaking, ASCII, language, ethics of ethnography and narrative storytelling under a metaphor of instructions to farm land. Text by Barbara Kirshenblatt-Gimblett and Wikihow/shoot-film. -ND https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1549755280339-MSETGFLRTBTP1T01ZJW6/Comfort+Stations_Stills1.jpg 2019 program 1 Comfort Stations Anja Dornieden & Juan David González Monroy 2018 | 26 minutes | Germany | 16mm | color | sound Comfort Stations consists of a found set of images and sounds with an instruction text making up some sort of psychological test. Participants should open themselves to experiencing the events with all of their senses. Feel free to participate but please remember to treat these experiences with caution. -AD & JDGM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1549837125445-JEQAT28YC1IJGEZKO6JT/Them+Oracles+2.jpg 2019 program 1 Them Oracles Alee Peoples 2012 | 8 minutes | USA | 16mm | color | sound Them Oracles is a skeptic investigation of what an oracle can be and what it would sound like. Human desire and blind faith allow, and maybe even will, these mystic soothsayers to exist. -AP http://www.lightfieldfilm.org/2019-program-2 daily 0.75 2019-03-02 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550017944991-H3PAPDGSL59ZOQG4DNY0/frame+ways.png 2019 program 2 frame, ways, inflections Kioto Aoki 2018 | 3 minutes | USA | 16mm | b&w | silent A piece about the movement of bodies through space for the site-specific installation at 6018|North for the show "Living Architecture," inspired by architect Bernard Cache's notion of inflections. The film activates two existing works at the gallery: "Duchamp Door" in the basement and Vlatka Horvat's "Door to Door" on the second floor and projected in the closet behind a rearranged version of Horvat's piece. -KA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550018576804-OB5MOIEV0A13JDZZ67EO/mujer.jpg 2019 program 2 Mujer Sofia Canales 2012 | 10 minutes | USA | 16mm | b&w | sound Three Latina women of different generations take pleasure in helping each other bathe, dress up, and cook a meal for themselves. Mujer flows like a dream, guided by the small mutual generosities of domestic life. It is less of an observational analysis and more of an up-close intimate experience. -SC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550017641100-L52I1V2MLL1MGZBFQE7R/what%2Bis%2Bbeyond.jpg 2019 program 2 What is beyond the Hellraiser? Guillaume Vallée 2017 | 3 minutes | France/Canada | super 8 | color | sound - The journey is up to you - -GV https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1549941190182-GJGZ9ZYS337U9KQNB557/futility.jpg 2019 program 2 Futility Greta Snider 1989 | 9 minutes | USA | 16mm | b&w | sound Futility's narrative is told in two disarmingly honest and personal voice-overs, with images reprinted from found and archival footage. The first section is a woman's story about a pregnancy and subsequent difficulties in scheduling an abortion. The second is a moribund love letter read by the same narrator. The images are never an illustration of the voice-over, nor do they constitute a narrative of their own, but blow in and out randomly, constituting a kind of peripheral vision. -GS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2019 program 2 Kioto Aoki is a visual artist whose practice includes photography, film, books and installations to engage the material specificity of the analogue image and image-making process. Using the nuances of time, space, form, light and motion, her work explores different modes of perception as it relates to the space between the still and the moving image; as well as the human body within the device of photographic frame. She has exhibited and screened in Chicago, Berlin, Los Angeles, San Francisco, London and Japan. Her work is held in Joan Flasch Artists’ Book Collection and the Museum of Contemporary Art Chicago Library. Kioto received her MFA from The School of the Art Institute of Chicago and is currently a HATCH Projects artist-in-resident at the Chicago Artists Coalition. Malic Amalya is queercore filmmaker working in 16mm and video. He lives in Oakland and teaches at the California College of the Arts and City College of San Francisco. Greta Snider is an experimental filmmaker. Her earlier work on 16mm includes a collection of audio and visual experiences that combines photography, found footage, and her own experiences of the San Francisco punk scene in the early 1990s. Her work includes experiments with simultaneous soundtracks (Blood Story, 1990), engaging personal accounts of a scraped-together journey with friends (Portland, 1996), and an audio travelogue of the San Francisco punk scene. Greta's more recent work includes, in collaboration with Johunna Grayson, a series of slide show projections comprised of hand-processed photographs and stereoscopic images. The series is described as an update on the "campy Viewmaster format," riffing on the concept of the travelogue to present the unseen and underground aspects. Subjects range from forgotten aspects of the everyday ("old man bars," flowers, parts of the body) to the extreme (a Viewmaster series of atomic test blasts). Snider's films explore the importance of small memories, retrieving pieces of ephemera from the underground and re-presenting them on screen. Wenhua Shi pursues a poetic approach to moving image making, and investigates conceptual depth in film, video, interactive installations and sound sculptures. His work has been presented at museums, galleries, and film festivals, including International Film Festival Rotterdam, European Media Art Festival, Athens Film and Video Festival, Ann Arbor Film Festival, Pacific Film Archive, West Bund 2013: a Biennale of Architecture and Contemporary art, Shanghai, Shenzhen & Hong Kong Bi-City Biennale of Urbanism, and the Arsenale of Venice in Italy. He has received awards including the New York Foundation for the Arts, the New York State Council on the Arts, and Juror’s Awards from the Black Maria Film and Video Festival. Sofia Canales is a filmmaker and artist born and based in Los Angeles. She holds a BFA in Film/Video and an MFA in Experimental Sound Practices from the California Institute of the Arts. Her work lovingly explores familial narratives and images through wide eyes and open ears. Her films have shown at Slamdance Film Festival, Morelia International Film Festival, and LA Plaza de Cultura y Artes. Nazlı Dinçel’s hand-made work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Her use of text as image, language and sound imitates the failure of memory and her own displacement within a western society. Born in Ankara, Turkey, Dinçel immigrated to the United Sates at age 17. Dinçel resides in Milwaukee, WI where she is currently building an artist run film laboratory. She obtained her MFA in filmmaking from UW-Milwaukee. Her works have been exhibited in numerous venues around the world including MoMA, IFFR, NYFF, BAFICI, EIFF and HKIFF. She recently won the Helen Hill Award at the 2018 Orphan Film Symposium, the Eileen Maitland Award at the 2018 AAFF, Jury Awards at 2018 ICdocs and MUFF for Between Relating and Use (2018). In addition to exhibiting with institutions, Dinçel avidly self-distributes and tours with her work in micro-cinemas, artist run laboratories and alternative screening spaces in order to support and circulate handmade filmmaking to communities outside of institutions. Sílvia das Fadas (née Sílvia Salgueiro) is a filmmaker, a researcher, a teacher, a wanderer. Born in Portugal in 1983, she studied cinema and aesthetics, committing herself to the material learning of film at ANIM (The Portuguese Moving Image Archive) and the Portuguese Cinematheque in Lisbon. Driven by a militant nostalgia, she moved to Los Angeles where she continued to craft her personal films in 16mm, at the California Institute of the Arts. She worked as a Visual History Researcher for the Academy of Motion Picture Arts and Sciences, and collaborated with Los Angeles Filmforum until her visa expired and she moved to Vienna in search of a lively film culture. There she worked as a film projectionist for the Austrian Film Museum, while teaching cinema at the Academy of Fine Arts Vienna, where she is currently a participant in the PhD in Practice program. She is the recipient of a Fundação Calouste Gulbenkian/ FLAD Scholarship, a CalArts School of Film/Video Scholarship, an Akademie Schloss Solitude Cooperation Fellowship with Staatliche Akademie der Bildenden Künste Stuttgart, and a Fundação para a Ciência e Tecnologia Doctoral Fellowship. Her films have been shown at numerous festivals, cinematheques and minor cinemas. She is interested in the politics intrinsic to cinematic practices and in cinema as a way of being together in restlessness and brokenness. Cauleen Smith (born Riverside, California, 1967) is an interdisciplinary artist whose work reflects upon the everyday possibilities of the imagination. Operating in multiple materials and arenas, Smith roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism, third world cinema, and science fiction, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. Her films, objects, and installations have been featured in group exhibitions. Studio Museum of Harlem, Houston Contemporary Art Museum; Yerba Buena Center for Art, and the New Museum, New York, D21 Leipzig and Decad, Berlin. She has had solo shows for her films and installations at The Kitchen, MCA Chicago, Threewalls, Chicago. She shows her drawings and 2D work with Corbett vs. Dempsey. Smith is the recipient of several grants and awards including the Rockefeller Media Arts Award, Creative Capital Film /Video, Chicago 3Arts Grant, and the Foundation for Contemporary Arts, Chicago Expo Artadia Award, and Rauschenberg Residency. Smith was born in Riverside, California and grew up in Sacramento. She earned a BA in Creative Arts from San Francisco Sate University and an MFA from the University of California, Los Angeles School of Theater Film and Television. Smith is based in the great city of Chicago and serves as faculty for the Vermont College of Fine Arts low-residency MFA program. Experimental filmmaker, video artist and independant curator, Guillaume Vallée graduated from Concordia University with a Major in Film Animation and MFA in Studio Arts - Film Production option. He's interested in alternative forms of moving images in analogue forms as a way of considering the direct interaction between different mediums. His work is an exploration of materiality within the creative process. In attempts of creating a more complex relationship with his subject matter, Vallée makes use of cross-medium forms that range from camera-less techniques to optical effects, glitch, video feedback, resulting in expended & hybrid pieces. Vallée is questionning the notions of recycling & reappropriation, treating all material as found footage within a collaborative practice, in film, video & performance. His audiovisual performances have been shown in various festivals in Canada, USA and France (MUTEK, O.F.N.I., FICFA, Les Percéides, WUFF (...)) and his experimental films and videos, distributed by Vidéographe and Winnipeg Film Group, have been screened internationnaly. His short film, Le bulbe tragique, won the ''Best Canadian Work'' at WNDX (Festival of Moving Image) in 2016. He's also the co-founder & programmer of Ibrida*Pluri Festival, along with Sonya Stefan & Samuel Bonony. Guillaume Vallée's completing a PhD in Études et Pratiques des Arts at UQAM, under the direction of Louis Jacob & Mario Côté. His Research-Creation thesis is about the notions of DIY apparatus, scene and the artist as bricoleur, around the practices of experimental cinema. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550016562569-CZY13NF5P3W9R1QFX0U7/between%2Brelating.jpg 2019 program 2 Between Relating and Use Nazlı Dinçel 2018 | 9 minutes | Argentina/USA | 16mm | color | sound "Exhibitions, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject. The first order of business is therefore to examine critically the conventions guiding ethnographic display..."* Borrowing words from Laura Mark's "Transnational Object" and DW Winnicott's "Transitional Object", this film is an attempt to ethically make work in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards- on how we use our lovers. *Destination Culture by Barbara Kirshenblatt-Gimblett, 1998 -ND https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550171011577-FNEXJOQ1V4F3H0COMDGT/Song%2Bfor%2BRent_001.jpg 2019 program 2 Song for Rent, after Jack Smith Malic Amalya 2018 | 6 minutes | USA | 16mm | color | sound With Kate Smith singing God Bless America looped in the background, experimental filmmaker Jack Smith starred as Rose Courtyard—a drag character based on Rose Kennedy—in his 1969 film, Song for Rent. In this adaptation, Barbarella Bush joins Rose in a campy exploration of US nationalism, queer assimilation, and denunciation. -MA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550016915719-E90BALG2EM0BECYUG36S/Square-Dance5.jpg 2019 program 2 Square Dance, Los Angeles County, California, 2013 Sílvia das Fadas 2013 | 9 minutes | USA | 16mm | color | sound "The people are what is not there yet, never in the right place, never ascribable to the place and time where anxieties and dreams await." -Jacques Rancière https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550017127872-PJ6KXJ4OPIRU91GVGEEL/chronicles.jpg 2019 program 2 Chronicles of a Lying Spirit (By Kelly Gabron) Cauleen Smith 1995 | 6 minutes | USA | 16mm | color | sound "Chronicles of a Lying Spirit (By Kelly Gabron) is less a depiction of 'reality' than an exploration of the implications of the mediation of Black history by film, television, magazines and newspapers. Using her alter ego, Kelly Gabron, Smith fabricates a personal history of her emergence as an artist from white-male-dominated American history (and American film history). Smith collages images and bits of text from a scrapbook by 'Kelly Gabron' that had been completed before the film was begun, and provides female narration by 'Kelly Gabron' that, slowly but surely, makes itself felt over the male narration about Kelly Gabron (Chris Brown is the male voice). The film's barrage of image, text and voice is repeated twice, and is followed by a coda. That most viewers see the second presentation of the imagery differently from the original presentation demonstrates one problem with trusting any media representation." -Scott MacDonald https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550018354131-NR49M48C7107RVM07PRA/senses.jpg 2019 program 2 Senses of Time Wenhua Shi 2018 | 5 minutes | USA | 16mm | color | sound Senses of Time depicts the lyrical and poetic passage of time. The work reflects on time and focuses on defining subjective and perceptual time with close attention to stillness, decay, disappearance, and ruins. -WS http://www.lightfieldfilm.org/imaging-the-avantgarde-taiwans-film-experiments-of-the-1960s daily 0.75 2019-02-18 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550434528710-ZMW0N7771FY8Q0ZEXNG5/%E5%8A%87%E7%85%A71_Mountain.jpg_300dpi.jpg Imaging the Avant-Garde: Taiwan's Film Experiments of the 1960s https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550434016392-7B6ND98K4919JWMWIH7L/%E5%8F%B0%E5%8C%97%E4%B9%8B%E6%99%A8+%281%29.png Imaging the Avant-Garde: Taiwan's Film Experiments of the 1960s http://www.lightfieldfilm.org/barbara-hammer-tribute daily 0.75 2020-02-12 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581455696490-44WIK9DHUQREKFMW3BHV/Cemiterul3.jpg Barbara Hammer tribute The House is Yet to be Built (A Casa, A Verdadeira e a Seguinte, Ainda Está Por Fazer) Sílvia das Fadas 2015-2018 | 35 minutes | USA/Portugal | 16mm | color | sound A travelogue to places which defy the surface of the world. In order of appearance: an ideal palace built by a postman after each of his daily rounds; a red house designed by a socialist agitator; a pacifist tower erected against the movements of History; an exuberant garden engendered in the feminine; and a merry cemetery, which conjures a community of equals in the outskirts of Europe. To ensure we risk our joy for those who act in their own time. - SDF https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581526417818-YWZK2B614F4XY457I1L8/8.+George+Clark_Double+Ghosts_2018_064.jpg Barbara Hammer tribute Double Ghosts George Clark 2018 | 31 minutes | Chile/UK/Taiwan | 35mm | color | sound Double Ghosts explores the status and potential of unrealised and fragmented histories from the legacy of Chilean filmmaker Raúl Ruiz (1941 - 2011) to animist cinematic traditions in Taiwan. The project takes as its starting point an unfinished film shot by Raúl Ruiz in Taiwan in 1995. Based in Paris since the late 1970s Ruiz came to Taiwan to film 'The Comedy of Shadows / La comedie des ombres' with a script inspired by the Taoist philosophy of Chuang Tzu's 'Wandering on the Way' and Luigi Pirandello's 'Six Characters in Search of an Author'. The project was filmed at Chin Pao San cemetery with a Taiwanese cast and crew but never finished. The incompleteness of Ruiz's film is the starting point for 'Double Ghosts', that considers the echoes of this unrealized project to explore cinematic and political phantoms. Drawing on research and collaborations with filmmakers Valeria Sarmiento and Niles Atallah as well as Chilote fishermen, the film is staged as a series of actions seeking to reactivate this lost film. Filmed on 35mm film in Chile and Taiwan, 'Double Ghosts' follows traces across the Pacific from Ruiz's birthplace in Puerto Montt to the mountain cemetery in Taiwan. - GC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png Barbara Hammer tribute George Clark is an artist, writer and curator. His work explores the history of images and how they are governed by culture, technology and social political conditions. Recent projects have sought to build new models of assembly, exhibition and moving image production. His films have shown at festivals and museums internationally including New York Film Festival (2019) Berwick Film and Media Art Festival (2019), Hanoi Doclab (2019), Taiwan Biennale (2018), AV Festival (Newcastle) (2018), Focal Point Gallery (Southend-on-Sea) (2018), Yunsun Museum (2018); Museum of Modern and Contemporary Art / MMCA, Seoul (2017), Museo de Arte Moderno de Buenos Aires (2017) and Museo de Artes Visuales / MAVI (2016) among others.. He is co-founder of the West Java West Yorkshire Cooperative Movement, a collaborative project with the Jatiwangi Art Factory and Pavilion. He has curated projects for museums, galleries, cinemas, and festivals with a focus on broadening the histories of film and video practice globally. He has curated projects for museums, galleries, cinemas, and festivals with a focus on broadening the histories of film and video practice globally. Sílvia das Fadas is a filmmaker, a researcher, a teacher, a wanderer. She studied cinema and aesthetics, committing herself to the material learning of film at The Portuguese Moving Image Archive and the Portuguese Cinematheque in Lisbon. Driven by a militant nostalgia, she moved to Los Angeles where she continued to craft her personal films in 16mm, at the California Institute of the Arts. She worked as a visual history researcher for the Academy of Motion Picture Arts and Sciences and collaborated with Los Angeles Filmforum until her visa expired and she moved to Vienna in search of a lively film culture. There she worked as a film projectionist for the Austrian Film Museum, while teaching at the Academy of Fine Arts, where she is currently a participant in the PhD in Practice program. She is the recipient of a Fundação Calouste Gulbenkian/ FLAD Scholarship, a CalArts School of Film/Video Scholarship, an Akademie Schloss Solitude Cooperation Fellowship with Staatliche Akademie der Bildenden Künste Stuttgart, and a FCT Doctoral Fellowship. Her films have been shown at numerous festivals, cinematheques and minor cinemas. She is interested in the politics intrinsic to cinematic practices and in cinema as a way of being together in restlessness and brokenness. http://www.lightfieldfilm.org/2019-program-5 daily 0.75 2019-03-02 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550174336512-ZANNN87KY8E1LPZGO8T5/air%2Bof%2Bthe%2Bearth.jpg 2019 program 5 The Air of the Earth in Your Lungs Ross Meckfessel 2018 | 11 minutes | USA/Japan | 16mm | color | sound Drones and GoPros survey the land while users roam digital forests, oceans, and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century. -RM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550175613022-7KT1A6A8YE08W386UHCW/Lydon_Kerr2.jpeg 2019 program 5 Lydon Lucy Kerr 2018 | 3 minutes | USA | 16mm | color | sound Lydon explores the potential of a minimal gesture in relationship with the space surrounding them. -LK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550175428621-DEF0LYVU22DUV8T5PN3Y/TSIG_Still_2.jpg 2019 program 5 The Skin is Good Anja Dornieden & Juan David González Monroy 2018 | 12 minutes | Germany | 16mm | color | silent The skin fiend is a stranger. He sent us strange messages (and a package). In the last message the skin fiend said, “Try to be skin fiends for a moment. How, you ask? Well, to be a skin fiend one has to summon the skin demon. To summon the skin demon, one has to say the skin prayer (see attached). Before one says the skin prayer, one has to take command of the skin receptacles (see package). But the skin receptacles must never be touched. They are objects of the mind. One may only interact with the skin receptacles through sense memory. How can one remember what has never been physically experienced? The skin fiend remembers the future. In the future, he remembers that the skin fiend has already seen the skin demon. In the future, he remembers that the skinfiend has already touched the skin demon. In the future, he remembers that the skin fiend and the skin demon are the same because in the future, the skin fiend has no eyes and the skin demon has no hands and yet the skin demon can touch what the skin fiend sees, and the skin fiend can see what the skin demon touches. But what the skin demon touches and what the skin fiend sees evaporate from memory once seen and touched. In the future, he remembers that the skinfiend remembers the sense of having forgotten. This sense is marked by a trace. The trace is a scent. In the future you remember, perhaps you will remember this scent and with any luck you will also forget it.” We made this film for you, skin fiend. What do you think? -AD & JDGM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550172495214-ZGMXJXLG2UMT947CRUH4/what%2Blit.jpg 2019 program 5 What Lit the Earth Meganelizabeth Diamond 2017 | 3 minutes | Canada | super 8 | color | sound a super 8 one take about the eclipse / once upon a time there was love in the light, now there's only love in the dark -MD https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550172724557-Y5IBOV1HFTBZWHHAQOAR/FutureLight.jpg 2019 program 5 FUTURE LIGHT (2021) Karissa Hahn 2018 | 7 minutes | USA | 16mm | color | sound the year 2021 - experience the duration of 1 year in 24 frames for 24 hours of the day - 365 strips of film inkjet printed with the precise amount of light per day, including accurate twilight times. feel the seasons change....inkjet printing process creating constellations.... darkness - dawn- day - dusk- darkness - dawn - day - dusk - darkness -KH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550173488677-SR18FBZ3IE9FOUJ7GM4F/VV_01.jpg 2019 program 5 Void Vision Alexander Stewart 2018 | 8 minutes | USA | 16mm | color | sound Void Vision is an abstract science-fiction short in which the real and the simulated are equally constructions; a space where doubles, twins, duplicates, re-creations, and copies blend into one another. -AS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550175808606-UQV0HXHL4LJKMLGNDGAD/Binary%280.02.36.22%29.jpg 2019 program 5 BINARY STARS Andrew Busti 2017 | 4 minutes | USA | 35mm Scope-Anamorphic | b&w | sound A set of formal instructions detailing the proper operation of a light switch while a landscape shrinks at an alarming rate of 2:1 -AB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550173879806-R4S0MV2N8LRUA5R65JS9/FallenArches_4.jpg 2019 program 5 Fallen Arches Simon Liu 2018 | 10 minutes | UK/USA/Hong Kong | 35mm | color | silent Glimpses through windows into family gatherings and views along British coastlines are consumed by temporary store-front displays and the allure of emblazoned skyscrapers. Imagery both diaristic and impersonal to the filmmaker overlap, contradict and trace movements between Stoke-On-Trent, Hong Kong and New York. In an act of dedication, Fallen Arches is at once a celebration and questioning of fleeting enchantments as borders between distant spaces dissipate into multi-chromatic rushes. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2019 program 5 Meganelizabeth Diamond is an interdisciplinary artist from Hazelridge + Winnipeg, Manitoba currently based out of Camp Morton, Manitoba. Her practice utilizes both analog and digital forms of image capturing, collaging and film-making. She is a collective member of Open City Cinema and co-programs the Winnipeg Underground Film Festival. Her work has shown throughout artist run centres and festivals across Canada and the United States. Meganelizabeth sits on the board of directors of PLATFORM photographic centre + digital arts and she completed her BFA at the University of Manitoba. Karissa Hahn is a visual artist based in Los Angeles who works between film and video. Hahn has shown around the planet Earth in various cinemas, galleries, and institutions such as the New York Film Festival, MoMA, Rotterdam, Wavelengths, Crossroads, Ann Arbor Film Festival, and the Anthology Film Archives. Alexander Stewart (1981, Mobile, Alabama) received his MFA from the School of the Art Institute of Chicago. His short films have screened internationally, including at the International Film Festival Rotterdam, the Ottawa International Animation Festival, the Ann Arbor Film Festival, and Image Forum in Japan. He is co-founder of the Eyeworks Festival of Experimental Animation, and curated the film and video screening series at Roots & Culture Contemporary Art Center in Chicago from 2006 to 2013. He lives in Los Angeles and teaches in the Experimental Animation program at CalArts. Simon Liu was raised between Hong Kong and Stoke-On-Trent, UK and now lives in Brooklyn, USA. His films and 16mm multiple projection performances have been presented at film festivals and institutions internationally including the International Film Festival Rotterdam, Toronto International Film Festival, BFI London Film Festival, Edinburgh IFF, Hong Kong IFF, M+ Museum, Tai Kwun Contemporary, CROSSROADS @ SFMoMA, Festival du Nouvéau Cinéma, Maryland Film Festival, Hamburg Kurzfilmtage, Light Industry, EMAF, EXiS, IMAGE FORUM and Dreamlands: Expanded with the Whitney Museum of American Art & Microscope Gallery. Liu is a member of Negativeland MPL - an artist-run film lab where he often prints, develops and completes his films on 16mm / 35mm. He is an Adjunct Faculty member at the Cooper Union School of Art and has given lectures and performed as a visiting artist at institutions such as the China Central Academy of Fine Arts, Yale University, Beijing Film Academy and the New School. In 2018 he was a recipient of the NYSCA and Wave Farm Media Arts Assistance Fund. Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including Projections at the New York Film Festival, Wavelengths at Toronto International Film Festival, San Francisco Cinematheque’s CROSSROADS Film Festival, Internationales Kurzfilm Festival Hamburg, Antimatter [Media Art], Iowa City International Documentary Film Festival, and The Artifact Small Format Film Festival where he was awarded best 16mm film. Anja Dornieden and Juan David González Monroy are filmmakers based in Berlin. Since 2010 they have been working together under the moniker OJOBOCA. Together they practice Horrorism, a simulated method of inner and outer transformation. They are currently members of the artist-run film lab LaborBerlin. Lucy Kerr is a choreographer, filmmaker, artist, and curator based in Los Angeles and in Brooklyn, NY. She is a current MFA candidate in Film/Video and in Art at California Institute of the Arts. Her work has been presented by The Brooklyn Museum, Anthology Film Archives, Echo Park Film Center, The Chimney NYC, La Mama, Cucalorus, The Aurora Picture Show, Brooklyn Studios for Dance, Lubov Gallery NYC, The Match Houston, and The Center for Performance Research, among others. Kerr co-curated and co-organized the 7 week dance on film festival, Dance Film; Deconstructed, in Fall 2017 in partnership with Emily Smith at Brooklyn Studios for Dance and with collaborating organizations Mono No Aware and Dance Films Association. Andrew Busti has been making "handmade" films in various forms since 1999. His work revolves around the idea of the subjective and the languages that evolve through experience and perception. His current 16mm film series, titled: 26 Pulse Wrought- Film for Rewinds are films that approach cinema as projected data feeds, articulate signals, and loci of information to be seen, heard, intuited...and eventually interpreted. He is the head of technical resources and an integral part of the new media preservation program for the Cinema Studies and Moving Image Arts Department at University of Colorado in Boulder where he teaches classes in Alternative Process and Alchemical Cinema. He fervently works with artists, museums, and archives through the name Analogue Industries Ltd., facilitating new works, helping to preserve works regardless of classification, while always striving to support analog cinema in all its ongoing forms. He is a founding member of Process Reversal, a nonprofit artist-run analog film initiative that currently educates, informs, supports, and outfits artist-run film labs and communities around the globe. When not working long hours and helping others make films or actually making his own, he might be found singing to his 11 month old baby boy and obsessing about the reclamation and refining of silver from the photographic process for at least .999 percent of his time. http://www.lightfieldfilm.org/2019-program-7 daily 0.75 2019-03-17 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550347823080-WLH7TC7LLKNG54V9OGW7/cyclone%2Btracery.jpg 2019 program 7 Cyclone Tracery Richard Tuohy & Dianna Barrie 2018 | 15 minutes | Australia | 16mm x 2 | b&w | sound On Christmas eve in 1974, the city of Darwin in tropical northern Australia was devastated by Cyclone Tracy. In this expanded cinema piece, a single film print, featuring only concentric circles is bi-packed against itself in two 16mm projectors simultaneously. Through this approach, the quadrupled image of circles is transformed into troubled patterns of pulsating and swirling interference and whaling sounds of tropical violence. -RT & DB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550620223472-SER6G0RHTLE3D4PSCXJ6/shutter%2Binterface.jpg 2019 program 7 Shutter Interface Paul Sharits 1975 | 25 minutes | USA | 16mm x 2 | color | sound The central idea was to create a metaphor of the basic intermittency mechanism of cinema: the shutter. If one slows down a projector, one observes a "flicker"; this flickering reveals the rotating shutter activity of the system. Instead of slowing down a projector, one can metaphorically suggest the frame-by-frame structure of film (which is what necessitates a shutter blade mechanism) by differentiating each frame of the film by radical shifts in value or hue; this metaphor was a guiding principle in my work in the 1960's, in my so-called "color flicker films." I discovered, two years ago, that I could heighten this metaphor by partially overlapping two screens of related but different "flicker footage" and the conception of four overlapping screens began to evolve. For installation pieces, I prefer to use long film loops, each a slightly different length, so that the relationships within the system go through many phases, maintains the piece seem to be beyond duration, to exist as on-going environments of visual-aural activity (I regard them as "locations"). -PS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550350168784-QZMEGOHZ0O5GVOTL8KOQ/rate%2Bof%2Bchange.jpg 2019 program 7 Rate of Change Bill Brand 1972 | 18 minutes | USA | 16mm | color | sound Acts of Light is a trilogy consisting of Rate of Change, Angular Momentum, and Circles of Confusion. Together they develop a study of pure color based on the notion that film is essentially change rather than motion. The films build one on the other as first pure change, then relational change, and finally, irrational change. They can be seen together or as separate works. Rate of Change has no original, no frames, only slow continuously shifting colors, cycling around the perimeter of the spectrum. The changes are so slow as to be unseen, yet they alter perception of the color. -BB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2019 program 7 Bill Brand is a multi-disciplinary artist whose films, public artwork, installations and works-on-paper have exhibited worldwide in museums, galleries microcinemas and on television. His 1980 Masstransiscope, an animated mural installed in the New York City subway, is in the MTA Arts and Design permanent collection. Bill Brand’s artwork has been featured at Museum of Modern Art, Whitney Museum, Smithsonian American Art Museum, National Gallery of Art, Anthology Film Archive and Shanghai Duolun Museum of Modern Art. He is represented by Galerie Arnaud Lefebvre, Paris. His films have been presented at major film festivals including the Berlin Film Festival, New Directors/ New Films Festival, Tribeca Film Festival and Rotterdam Film Festival. Trained as a graphic artist and a painter, Paul Sharits became an avant-garde filmmaker noted for manipulating the film stock itself to create a variety of fascinating, abstract light and colorplays when projected on the screen. Fans hail the effects hallucinogenic, while his detractors find them garish. Sharits is also known for establishing experimental film groups at prominent universities, including one at the University of Indiana where he studied. He later taught and developed an undergraduate film program at Antioch College. Between 1973 and 1992, Sharits taught at the Center for Media Study at the State University of New York. His films can be seen in various U.S. and European museums, film centers, and libraries. Much of his work can be found in the Anthology Film Archives in New York City. Richard Tuohy (b. 1969, Melbourne, Aus.) began making works on super 8 in the late nineteen eighties. Since 2009 he has been an active and vocal member of the international artist run film lab scene. In 2011 Richard and Dianna started the Artist Film Workshop which in 2012 became a membership based artist-run film lab, itself also part of the international labs network. An advocate for the possibilities of hand made cinema, Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia and internationally. Dianna Barrie (b. 1972, Melbourne) found her way into filmmaking as a middle ground between the pursuit of abstract music and philosophy, both of which she has studied formally at the post graduate level. Ever pushing the limits of the hand processing of super 8 led to the establishment of nanolab withRichard Tuohy in 2006. Dianna's film work could perhaps be characterised as 'direct chemical' filmmaking. Works generally begin with some form of camera image capture. This is followed by interventions during hand processing and exacting editing and/or printing processes. Dianna has emerged as a noticeable figure in the international artist-run film labs movement. She and her partner spend a significant amount of time each year touring their joint film programs and conducting workshops and masterclasses in hand-made film practice. http://www.lightfieldfilm.org/2019-program-6 daily 0.75 2019-03-17 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550348173168-W95IYXA9WX1K5HVG2DWY/Studio+Sunrise.jpg 2019 program 6 Studio Sunrise Kioto Aoki 2018 | 3 minutes | USA | 16mm | b&w | silent A reflected self-portrait imitating celestial movements of the sun. -KA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550348216449-D0QH18BNQYNDOXXVJ9L2/hills01.jpg 2019 program 6 Porter Springs 3 Henry Hills 1977 | 5 minutes | USA | 16mm | color | silent These beautiful, intricately animated reflections were unfortunately shot in ECO which has proved to be remarkably unstable, turning blue before I had an internegative made. Therefore, this is one of only three prints of this "elegant and serene experience" -Pat O'Neill https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550287768268-47QOV58NJHOB8OMDNLXN/Change_VimeoStill1.jpg 2019 program 6 Change 变 Lily Jue Sheng 2017 | 6 minutes | USA | 16mm x 2 | color | sound Change is a 16mm text animation that deconstructs and manipulates Chinese language in its representation of morphology, Taoist principles, and celestial cycles of time. The title refers to the I Ching, the Book of Changes, and 变 (traditional: 變), the Chinese word for 'change', in its translation that implies 'transformation'. The film structure surveys Chinese seal script, Traditional Chinese, and Simplified Chinese, repeating 64 variations of 8 cosmic colors - red, green, blue, cyan, magenta, yellow, black, and white. Each string of characters correspond to a revolution of time in lunisolar and astronomical denominations. The allegorical usage of radicals and colors convey a universal interconnectivity, articulating meanings outside the confines of literacy, acting instead as a cryptogram, machine/mind symbiosis, series of rituals, and play of metronomic afterimages. -LJS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550258779543-7EW8CJDI0IRGNV6Y17KS/vision%2Bintertropical%2B2.jpg 2019 program 6 Intertropical Vision Adriana Vila Guevara 2018 | 5 minutes | Spain/Venezuela | 16mm | color | sound Contrary to the standardization of a single hegemonic point of view, the “center” in the tropics is not the whole. It is the starting point of a powerful range of visions. This is a trip into the core of its multiple indomitable condition. -AVG https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550257941949-P9XRESNNFGCOJUK5AN3Y/elli.jpg 2019 program 6 Elli Esther Urlus 2016 | 8 minutes | Amsterdam | 16mm | color | sound Calm shots of a seascape also examine optical colour mixing using various flicker effects. Shot on the exact spot in Greece that marked the country’s entrance into World War II. -EU https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550254424318-9EM7EPPXN8UILISCK2IV/helios.jpg 2019 program 6 Helios Eric Stewart 2018 | 5 minutes | USA | 16mm | color | sound Time-lapses of cacti and succulent over the course of a year. Environmental data drives the tone and filtration of the sounds while the rising and setting of the sun illuminates plant growth in and out phase with each eachother. -ES https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2019 program 6 Steve Polta is a San Francisco a filmmaker, occasional writer, occasional historian and former taxi driver who lives in Oakland. He is the Director of San Francisco Cinematheque and curator (and co-founder) of the annual CROSSROADS film festival. Kioto Aoki is a visual artist whose practice includes photography, film, books and installations to engage the material specificity of the analogue image and image-making process. Using the nuances of time, space, form, light and motion, her work explores different modes of perception as it relates to the space between the still and the moving image; as well as the human body within the device of photographic frame. She has exhibited and screened in Chicago, Berlin, Los Angeles, San Francisco, London and Japan. Her work is held in Joan Flasch Artists’ Book Collection and the Museum of Contemporary Art Chicago Library. Kioto received her MFA from The School of the Art Institute of Chicago and is currently a HATCH Projects artist-in-resident at the Chicago Artists Coalition. Eric Stewart is an interdisciplinary multimedia artist and educator. Working predominantly with 16mm film his artistic practice invokes photochemical and darkroom processes to investigate landscape, place and cultural identity in the American West. Before moving to Colorado in 2013, Eric lived in the San Francisco Bay Area where he taught a biweekly analogue filmmaking workshop called “The Elements of Image Making”. He was awarded the 2015 Mono No Aware Award for Excellence in Filmmaking at the Haverhill Experimental Film Festival and his films have shown at: The Yerba Buena Center for Fine Arts (SF), Yale University, Crossroads Film Festival (SF Cinematheque), 25fps (Zagreb) and The Florida Experimental Film Festival. His current film examines the philosophy of science, ecology and the 19th century natural sciences as a window into contemporary issues of globalization, climate change, and social perspectives on wilderness. He holds a BFA from the School of the Art Institute of Chicago, an MFA from the University of Colorado, Boulder. He currently splits his time between Central New York and Southern Colorado where he works an Assistant Professor in Photography at Adams State University in the beautiful San Luis Valley of Southern Colorado. Josh Lewis is an artist and filmmaker working primarily with photo-chemical media. His handmade films look to explore the boundaries of manual knowledge and the persisting enigmas of material potential. He's shown work at venues such as The Centre Pompidou, Anthology Film Archives, Microscope Gallery, Eyebeam, Uniondocs, and at festivals such as The International Film Festival Rotterdam, Ann Arbor Film Festival, 25fps, Chicago Underground Film Festival, and Antimatter. He is the founder and co-runner of Negativeland, an artist workspace dedicated to experimental filmmaking located in Ridgewood, NY. Adriana Vila Guevara cofounded the analogue film lab Crater-Lab. Since 2010 she has created expanded film pieces and given performances at a number of film festivals, art centres and alternative spaces across Europe, the United States and Latin America. She has a PhD in Anthropology and Ethnography from the University of Barcelona. Amy Halpern is a New York filmmaker, living & working in Los Angeles. Since childhood, composing with movement and light, and making 16mm abstract films since 1972. Taught film for many years, most recently 7 years at U.S.C, also at California State University L.A., Cal. State Northridge, Otis-Parsons Art Institute and a second grade class in L.A. Unified School District. She has collaborations (lights, camera, person) with Charles Burnett's My Brother's Wedding, Pat O'Neill's The Decay of Fiction, Julie Dash's Illusions and David Lebrun's Breaking the Maya Code and Dance of the Maize God. She also appears in several of Chick Strand's films, Soft Fiction, Krystalnacht, Cartoon Le Moose & Fever Dream. Born and raised in New York City, Halpern studied & performed in modern dance with Anna Sokolow & Lynda Gudde, worked in the early 1970s in 3-D shadow-play with Ken Jacobs' New York Apparition Theatre and co-founded New York's Collective For Living Cinema with 3 other guys. Henry Hills has been making dense, intensely rhythmic experimental films since 1975. A longtime resident of New York's East Village, he has ongoing working relationships with the L=A=N=G=U=A=G=E Poets, composer John Zorn, and choreographer Sally Silvers. Since 2005 he has been Visiting Professor at FAMU, the Czech national film academy in Prague, and currently lives in Vienna. He received a 2009 John Simon Guggenheim Memorial Fellowship & his films, which are included in the permanent collection of the Museum of Modern Art, are available on DVD from Tzadik. His most recent work, arcana, was awarded Best Experimental Film at both Curtas Vila do Conde festival in Portugal and the Melbourne International Film Festival in Australia. His films, with an eccentric humor, seek abstraction within sharply-focused naturalistic imagery & the ethereal within the mundane, promoting an active attentiveness through a relentlessly concentrated montage. Annalisa D. Quagliata (b. Veracruz, Mexico) is a visual artist whose films and installations focus on the human body and portraiture. In her work the body is explored as a mirror that reflects different states of being; spanning from the personal to the social and political. She has a strong interest in analog and handmade film as a medium that captures the poetics of light and the moving image. Annalisa grew up in Mexico City but has lived in Taiwan, New York and Boston. She is a graduate from Massachusetts College of Art and Design where she majored in Film/Video and Studio for Interrelated Media. Her work has been screened and exhibited internationally, including the Museum of the Moving Image and Mono No Aware Festival in New York, Museo Tamayo in Mexico, Bienal de la Imagen en Movimiento in Argentina, Fronteira Festival in Brazil, Analogica Festival in Italy, and otherfilm festivals and venues. She is a Princess Grace Foundation Honoraria and recipient of the Stephen D. Paine Scholarship. Annalisa currently resides and works in Mexico City. As a key figure in the 1960s underground scene of New York – a missing link between the European avant-garde and the artistic movements that followed Abstract Expressionism – Aldo Tambellini (born 1930 in Syracuse, NY, US) is an experimenter, agitator, and a major catalyst of innovation in the field of multimedia art. Tambellini took the transformational potential of artistic expression that stems from painting and sculpture and brought it to the experiences of Expanded Cinema. Esther Urlus is a Rotterdam-based artist working with motion picture film formats Super8, 16mm and 35mm. Resulting in films, performances and installations, her works always arise from DIY methods. Kneading the material, by trial, error and (re) inventing, she creates new work. Urlus’ work has been exhibited and screened at film festivals worldwide, among other 25FPS festival Zagreb, Ann Arbor Film Festival, Oberhausen Short Film Festival, Sonic Acts, and the International Film Festival Rotterdam. Urlus is the founder of WORM Filmwerkplaats, Rotterdam, an artist-run workspace dedicated to motion picture film as an artistic, expressive medium. More and more it’s the artist-run film lab that represents the leading standard in contemporary analogue filmmaking. These labs have acquired professional, but commercially discarded equipment from all over the world. Now that artists have access to these tools, combined with the open culture-based knowledge sharing, they can move forward and innovate independently from the industry. Lily Jue Sheng works across film, video, 2D, performance, and installation. She studied at the School of the Museum of Fine Arts in Boston, Massachusetts, and is currently based in New York City & New Jersey. Her work has shown at the Whitney Museum of American Art, Parrish Art Museum, Knockdown Center, Eyebeam, Artbook @ MoMA PS1, and Microscope Gallery in New York City; Mana Contemporary in Jersey City; the Museum of Fine Arts in Boston; the Musée d’art contemporain de Montréal in Montreal; the 1933 Slaughterhouse (老场坊) and West Bund Art & Design Fair in Shanghai; and 3331 Arts Chiyoda in Tokyo. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550348198916-XUM8A3X176FOV34ESFBM/ah_photo_01.jpg 2019 program 6 Filament (The Hands) Amy Halpern 1975 | 7 minutes | USA | 16mm | b&w | silent In the politically charged atmosphere of the early 70s, Mikis Theodorakis conducted a concert of his music in Philadelphia. His music was banned in Greece, his own country, at that time by the US-funded junta. Visiting the US on a limited visa, he was restricted to musical appearances only - no public speaking permitted. His hands, eloquent even when their gestures are deprived (by silent filming) of the music they are making, speak. Several in-camera phenomena resulted from the highly-charged nature of the shoot. Flashes of lightning appear, in directional continuity with Theodorakis' movements. These are the product of static electricity, which caused flashes of light inside the camera to make additional exposures on the film while it was being exposed through the lens. The apparent double exposures are the result of the speed of the gestures interacting with the camera shutter speed, and seem to multiply the hands' locations. A shift from Plus X to Double X and finally to Tri X film stock causes the image to become progressively grainier, and the hands more glowing and halated. -AH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550257268436-4QXI29AAY3IP2N6RFGWR/blackout.jpg 2019 program 6 Black Out Aldo Tambellini 1965 | 9 minutes | USA | 16mm | b&w | sound This film, like an action painting by Franz Kline, is a rising crescendo of abstract images. Rapid cuts of white forms on a black background supplemented by an equally abstract soundtrack give the impression of a bombardment in celestial space or on a battlefield where cannons fire on an unseen enemy into the night. -Grove Press Film Catalog https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550253013654-HJNKDN1MQU8T452ZTD2G/Red%2BSketch.jpg 2019 program 6 1997c (Red Sketch) Steve Polta 1997 | 6 minutes | USA | super 8 | color | sound in the real world that there was the real world brought in chaos and it brought in unpredictability and the richness of the flow of light spectrum and color spectrum had a lot more going -SP https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550348231229-C7CO8VSL6GYNSLE7TWDZ/Xochipilli2.jpg 2019 program 6 Xochipilli Annalisa D. Quagliata 2018 | 1:20 minutes | Mexico | 16mm | b&w | silent Short film that captures fragments of the statue Xochipilli "The prince of flowers;" aztec god of art, dance and poetry. The statue is covered with flowers, some of them psychoactive plants. The figure seems to be in a trance; looking up to the sky, in communication with the divine. -ADG https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1550254695291-UEPK76JGTHFLBL36064Z/An+Empty+Threat+StripsStill4.jpg 2019 program 6 An Empty Threat Josh Lewis 2018 | 8 minutes | USA | 16mm | b&w | sound A sequence of truces. A personality test offering mostly slippage. -JL http://www.lightfieldfilm.org/2020-program-2 daily 0.75 2020-02-26 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581972293992-FEW1QPYP9YY31WN2PVG7/86817015_2721598937935529_7667221715256082432_n.jpg 2020 Program 2 Metric Film Federico Lanchares 2017 | 3 minutes | 16mm | b&w | silent Metric Film is a film that arises from the cinematic encounter between the arithmetic succession of Fibonacci (13th century) and the Method to make an infinity of different drawings with squares of two colors separated by a diagonal, of Father Dominique Doüat (18th century).. -FL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581534961090-MO6DRIJYMYK04ZFNAY5R/JeanLucNancy1+Kopie-300x220.jpg 2020 Program 2 Jean Luc Nancy Antoinette Zwirchmayr 2018 | 5 minutes | Austria | 16mm | color | sound “The full moon on the black night sky, a swinging pendulum, constellations, three women seen from behind, an ensemble of sparking crystals, half-transparent stripes in motion, light plays in black-and-white and in color. Images, perspectives, bodies, spaces, worlds set in relation to one another. Or, in other words: cinema. Concrete and abstract, sensual and theoretical, thought out and felt JEAN LUC NANCY the complex essence of cinema: as dispositive, as medium, as work body, as aesthetic experience, and as sensual site of encounter and tenderness – fleeting, moving, illuminating, touching.” -Michelle Koch https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581721428353-QT12UWNXXM9MHUX1WGY8/MV5BMzUyNTc2NzQtMDZlNC00ZDZjLWI1NTgtZTFlODBkYWJiNzIwL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMjYxMzY2NDk%40._V1_.jpg 2020 Program 2 Spacy Takashi Ito 1981 | 9 minutes | Japan | 16mm | tinted b&w | sound A film whose subject is the place (a gymnasium), the time, (the 10 minutes the film runs), and the unconformity of the reality (the gymnasium), and the illusion (the representation of the gymnasium). All the components are strictly combined in an endless cycle, a Möbius stripe, an Escher's film in a Japanese tempo, from Slow to Fast, from Pianissimo to Fortissimo. -TI https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581725941421-06TA2Y97HT0KTGZ4V3ZH/20200214_185122.jpg 2020 Program 2 Cypris Marcelle Thirache 1995 | 4 minutes | France | super 8 | tinted b&w | silent Abstract film made of moving and sensual matter. This film was made in black and white and then colored using successive turns. -MT https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581533198590-4C6E3JX9GG9BJB4NB4UR/ForBuckyFuller.png 2020 Program 2 For Bucky Fuller Kioto Aoki 2019 | 3 minutes | USA | 16mm | b&w | silent An homage to Buckminster Fuller and his belief that one could feel the earth's rotation while standing with feet apart facing the North Star. A collaboration with Maggie Wong. -KA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581435539128-ELKO5G7NKO1IS3OQSQF1/midnight-orange-04.jpg 2020 Program 2 Midnight Orange Gautam Valluri 2018 | 11 minutes | France/India | 16mm | color | sound A film about unresolved crescendos, thwarted anticipations and unmanaged escalations told through architecture gone awry. Filmed in the tombs of the Paigah family in Hyderabad, India, noise and silence, flicker and stillness tell the tale of a tradition of architecturally outdoing your ancestors, even in death's eternal sleep. -GV https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581720602524-5QL7O73NRPZJTYXLBBS8/unnamed.jpg 2020 Program 2 26 Pulse Wrought - (Film for Rewinds) Vol. I Windows for Recursive Triangulation Andrew Busti 2015 | 3 minutes | USA | 16mm | color | sound The first in a series of 9 Films investigating subjective languages, languages of subjectivity, and interpretive modes thru coded polyphonic articulate signals. A cinema for illumination and reflection. Exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice, the crux of increasing light… seen thru apertures…setting over the Pacific. Yes it is here…it is here, where we are… -AB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581533442270-FGT31DBCTYB6RK0RIMFJ/IDontThinkICanSeeAnIsland.png 2020 Program 2 I don’t think I can see an island Christopher Becks & Emmanuel Lefrant 2016 | 5 minutes | France/Italy | 35mm | color | sound A Film of Symbolically Authentic Non-Euclidean Adventures. -CB & EF https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581533687165-G7W07G6FHR4T1ZHX1JN1/LineofApsides.png 2020 Program 2 Line of Apsides Julie Murray 2015 | 12 minutes | USA | 16mm | b&w & color | sound Filmed at Film Farm, ON, bucket-processed on site and added to over time. Objects, animate and inert, were examined through the viewfinder and under a microscope and goats were interviewed daily. Thoughts coaxed into light in about the order they were encountered. -JM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581725332984-13J9UQA7FKM0BPF58CQO/11239_Paul_Sharits_2_300.jpg 2020 Program 2 Tirgu Jiu Paul Sharits 1977 | 10 minutes | 16mm x 2 | color | sound A two projector piece, one image projected within the larger image. An homage to the symmetry of Brancusi’s three greatest outdoor works, which are situated across the length of the small rural town of Tirgu Jiu, Romania. Brancusi was born in the nearby tiny hamlet of Hobita and was commissioned to erect the “Endless Column”, the “Gate of the Kiss”, and the “Table of Silence”. The screen within a screen will produce a very dynamic illusion of being Kinetic (which is caused by perceptual confusion). -PS (curator’s note: this rarely screened double projection color flicker film is often confused with a similarly titled, yet entirely different work of Sharits’ from 1984 titled Brancusi’s Sculpture Ensemble At Tirgu Jiu) https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2020 Program 2 Andrew Busti has been making "handmade" films in various forms since 1999. His work revolves around the idea of the subjective and the languages that evolve through experience and perception. His current 16mm film series, titled: 26 Pulse Wrought- Film for Rewinds are films that approach cinema as projected data feeds, articulate signals, and loci of information to be seen, heard, intuited...and eventually interpreted. He is the head of technical resources and an integral part of the new media preservation program for the Cinema Studies and Moving Image Arts Department at University of Colorado in Boulder where he teaches classes in Alternative Process and Alchemical Cinema. He fervently works with artists, museums, and archives through the name Analogue Industries Ltd., facilitating new works, helping to preserve works regardless of classification, while always striving to support analog cinema in all its ongoing forms. He is a founding member of Process Reversal, a nonprofit artist-run analog film initiative that currently educates, informs, supports, and outfits artist-run film labs and communities around the globe. When not working long hours and helping others make films or actually making his own, he might be found singing to his 11 month old baby boy and obsessing about the reclamation and refining of silver from the photographic process for at least .999 percent of his time. Federico Lanchares - Born in La Plata, Argentina. He is a film programmer and filmmaker graduated from the Art Department (National University of La Plata). He is the director of Semana del Film Experimental (La Plata Experimental Film Week), since it was founded in 2010. Kioto Aoki is a visual artist whose practice includes photography, film, books and installations to engage the material specificity of the analogue image and image-making process. Using the nuances of time, space, form, light and motion, her work explores different modes of perception as it relates to the space between the still and the moving image; as well as the human body within the device of photographic frame. She has exhibited and screened in Chicago, Berlin, Los Angeles, San Francisco, London and Japan. Her work is held in Joan Flasch Artists’ Book Collection and the Museum of Contemporary Art Chicago Library. Kioto received her MFA from The School of the Art Institute of Chicago and is currently a HATCH Projects artist-in-resident at the Chicago Artists Coalition. Gautam Valluri is an artist working with film. His work explores the relationship between architectural spaces and personal histories through the materiality of celluloid. He is the recipient of Masters Degrees in Experimental Film from Kingston University London and Université Paris VIII. His work has been exhibited at Institute of Contemporary Art (ICA) in London, Cinematek in Brussels, CCCB in Barcelona, Museu do Arte Moderna in Rio de Janeiro, The Korean Film Archive in Seoul and at various film festivals including International Film Festival Rotterdam, BFI London Film Festival, Edinburgh International Film Festival, European Media Art Festival (Osnabrück) and Images Festival (Toronto). Christopher Becks grew up in Canada, the Netherlands and the United States. He studied Fine Art and has a a Master's degree in Philosophy. Becks is a member of the Double Negative film collective in Montreal, but he currently lives and works in Berlin where he is pursuing a doctorate in Philosophy and working with the Labor Berlin film collective. Emmanuel Lefrant Emmanuel Lefrant lives and works in Paris, where he makes films, all self-produced, exclusively on celluloid. The films lie on the idea of representing, of revealing an invisible world (the secret forms of emulsion), a nature that one does not see. In 2000, he founded with Nicolas Berthelot, Alexis Constantin and Stéphane Courcy the collective Nominoë. They created together performances which have been played in many prestigious places, as the Pompidou Centre, the Serralvès Foundation (Porto) or the Rotterdam International Film Festival (IFFR). Julie Murray has made more than twenty-five film and digital works which have exhibited widely at international festivals including the New York Film Festival, the Hong Kong International Film Festival, International Film Festival Rotterdam, Centre George Pompidou (Paris), London Film Festival and the Flaherty Film Seminar NY.Her work was featured in the 2004 edition of the Whitney Biennial and her films are part of the permanent collections of the Museum of Modern Art and the Whitney Museum of American Art. Murray has presented her work at REDCAT (Los Angeles), Anthology Film Archives (NYC), Media City Film Festival ON, Pacific Film Archives CA, Los Angeles Filmforum, the San Francisco Cinematheque and Cinematheque Ontario inToronto. Murray's early super-8 films were selected for a National Film Preservation Foundation Award in 2014. Born in 1946 in Ivry-Sur-Seine, Marcelle Thirache begins with the practice of photography and exhibits her work as soon as 1978. First, her discovery of Marguerite Duras with the dissociation between sounds and images, and then the films of Germaine Dulac, foster a growing interest for cinema and finally lead her to choose the Super-8 in 1982. In 1987 she shows her films to yann beauvais and Miles McKane. In 1984, she develops a peculiar skill consisting in hand painting directly on a Super-8 filmstrip. To complete this cinematographic practice, she starts classical painting in 1999. Antoinette Zwirchmayr, born 1989 in Salzburg, Austria. Studied at the Academy of Fine Arts Vienna. Her works have been featured in festivals including International Short Film Festival Oberhausen (D) Indielisboa (P), Toronto International Film Festival (CND), Media City Film Festival (CND), New Horizons Film Festival (PL), CPH: DOX (DK), Ann Arbor Film Festival (USA), FID Marseille (F). She has been awarded with the Start-Up Grant for Young Film Artists (Arts and Culture Division of the Federal Chancellery of Austria 2017), Annual grant for photography (Land Salzburg 2017), Simon S. Filmaward (2016), Kodak Cinematic Vision Award (Ann Arbor Film Festival 2016), Best Innovative Film Award, Diagonale - Festival of Austrian Film (2016), Annual grant for film (Land Salzburg 2014), Best short documentary Award - Diagonale, Festival of Austrian Film (2014), Sponsorship Award (Salzburger Kunstverein 2014), Birgit-Jürgenssen-Award (2013). Paul Sharits was born in Denver, Colorado and earned a BFA in painting at the University of Denver’s School of Art where he was a protege of Stan Brakhage. He also attended Indiana University in Bloomington, Indiana where he received an MFA in Visual Design. In July 1960, he married Frances Trujillo Niekerk, and in 1965 they had a son, Christopher. They divorced in 1970.He was subsequently a teacher at the Maryland Institute College of Art, Antioch College, and, from 1973 to 1993, the State University of New York at Buffalo. Sharits is recognized internationally as a pioneering experimental filmmaker; however, he was trained as a painter and adapted strategies from both disciplines in his work. His influence on audiences worldwide was very apparent during his life. Born in 1956 in Fukuoka, Japan, Takashi Ito is one of the leading experimental filmmakers in Japan. "Film is capable of presenting unrealistic world as a vivid reality and creating a strange space peculiar to the media. My major intention is to change the ordinary everyday life scenes and draw the audience (myself) into a vortex of supernatural illusion by exercising the magic of films." (Takashi Ito, in Image Forum, Oct.1984) http://www.lightfieldfilm.org/2020-program-3 daily 0.75 2020-02-18 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2020 Program 3 Chris Kennedy is an independent filmmaker, film programmer and writer based in Toronto. He is the Executive Director of the Liaison of Independent Filmmakers of Toronto. He programmed for the Images Festival from 2003-06, Pleasure Dome from 2000-06 and for TIFF Cinematheque’s The Free Screen/Wavelengths from 2012-2019. He co-founded and co-programmed Early Monthly Segments from 2009 to 2018. He holds an MFA from the San Francisco Art Institute, where he was co-founder of the SFAI Film Salon with Vanessa O'Neill. Artist and filmmaker Deborah Stratman makes films and artworks that investigate power, control and belief, considering how places, ideas, and society are intertwined. Recent projects have addressed freedom, surveillance, sinkholes, comets, raptors, orthoptera, levitation, exodus, sisterhood and faith. She has exhibited internationally at venues including MoMA (NY), Centre Pompidou (Paris), Hammer Museum (LA), Witte de With (Rotterdam), PS1 (NY), Tabakalera (San Sebastian), Austrian Film Museum (Vienna), the Whitney Biennial and festivals including Sundance, Viennale, Berlinale, CPH/DOX, Oberhausen, True/False, TIFF and Rotterdam. Stratman is the recipient of Fulbright, Guggenheim and USA Collins Fellowships, an Alpert Award, Sundance Art of Nonfiction Award and grants from Creative Capital, Graham Foundation, and Wexner Center for the Arts. She lives in Chicago where teaches at the University of Illinois. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581373368869-633TZ94TPAJV8YYE1CCY/WatchingtheDetectives.jpg 2020 Program 3 Watching the Detectives Chris Kennedy 2017 | 37 minutes | Canada | 16mm | color | silent Immediately after the Boston Marathon bombing in April 2013, amateur detectives took to the Internet chat rooms to try and find the culprits. Users on Reddit, 4chan and other gathering spots poured over photographs uploaded to the sites, looking for any detail that might point to the guilt of potential suspects. Using texts and jpegs culled from these investigations, Watching the Detectives narrates the process of crowd sourcing culpability. -CK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581373509598-NACKUR9N6HAPGHMPB44J/in+order+not+to+be+here_1.jpg 2020 Program 3 In Order Not To Be Here Deborah Stratman 2002 | 33 minutes | USA | 16mm | color | sound An uncompromising look at the ways privacy, safety, convenience and surveillance determine our environment. Shot entirely at night, the film confronts the hermetic nature of white-collar communities, dissecting the fear behind contemporary suburban design. An isolation-based fear (protect us from people not like us). A fear of irregularity (eat at McDonalds, you know what to expect). A fear of thought (turn on the television). A fear of self (don’t stop moving). By examining evacuated suburban and corporate landscapes, the film reveals a peculiarly 21st century hollowness… an emptiness born of our collective faith in safety and technology. This is a new genre of horror movie, attempting suburban locations as states of mind. -DS http://www.lightfieldfilm.org/2020-program-7 daily 0.75 2020-02-29 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581392559154-RF7QU3VJE9KYNL2P4E3P/ELMAR.jpg 2020 Program 7 El mar peinó a la orilla Valentina Alvarado Matos 2019 | 3 minutes | Spain | super 8 | color | silent El mar peinó a la orilla (the sea combed the shore) tries to think of new geographies and play, from traces with altering the landscape filmed through brushstrokes that make the illusion that sky and sea come together, new ways from the film lens to erase the horizon or lift new landscapes. -VAM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581391847757-9NEANHA0FN2QB7TCD92D/Amusement+Ride+12.jpg 2020 Program 7 Amusement Ride Tomonari Nishikawa 2019 | 6 minutes | Japan | 16mm | color | sound Shot with a telephoto lens from inside a cabin of Cosmo Clock 21, a Ferris wheel at an amusement park in Yokohama, Japan. The distorted image shows the structure of the Ferris wheel, focusing on the intermittent vertical movement, which resembles the movement of a film at the gate of a film projector or camera. -TN https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581729147095-8R93ELHX241SMQOP05R9/arch.png 2020 Program 7 An Architecture of Desire Sandra Davis 1988 | 15 minutes | USA | 16mm | color | silent I think of this film as one that led me very precisely through its composition. First, I was fascinated during the winter and spring in the "city of the dead" — Graceland — the graveyard containing magnificent, monumental, and some whimsical tombs, as final resting real estate for significant and wealthy Chicago families. Then I thought if I could really see closely with my lens, the surface of the skin of the human body, the barrier between the outside world and the living body; that I could touch the knowledge of what was inside, and unseeable. Of course I only met up with its limits. The next winter, I returned to Chaco Canyon, the ancient pueblos of the Anasazi (ancesters of the contemporary Hopi people). I filmed all day in the kivas. It had snowed, so I could not get out on the dirt roads, and was forced to spend the night there, in my car. I woke up suddenly, anxious, in the light of the full moon, to see a large black cat, like a panther, moving down the cliff, and coming directly toward me. He passed within five feet of me, and then moved away, toward the kivas. The next day, I read that Anasazi records speak of a race of black panthers, held sacred, and native to the area, but which have now been extinct for centuries. -SD https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581385984577-9EFYOFMTMWWA6B97EI8H/APeoples_SFFstill_heels.jpeg 2020 Program 7 Standing Forward Full Alee Peoples 2019 | 6 minutes | USA | 16mm | color | sound A helter skelter is an amusement ride with a spiral slide built around a tower. Like this film, an exorcism attempt of an unrequited desire, itʼs either moving too fast or at a complete standstill. Disorienting but exciting. -AP https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581640579993-VPH34YJO0MJQOIR8O8KQ/fever-pf.png 2020 Program 7 Fever Paula Froehle 1998 | 6 minutes | USA | 16mm | color | sound FEVER is a visually dense, poetic exploration of the bond between a mother and child and the interruption of illness. Inspired by the open creativity and free-association of children, extreme close-ups of quotidian objects, distorted "synchronous" sounds, and floating text intermesh to convey the fluctuation between security and danger, confidence and doubt when a child falls ill. -PF https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2020 Program 7 Sandra Davis is a San Francisco-based experimental filmmaker and curator whose work has been exhibited at film showcases and festivals worldwide, including the Museum of Modern Art, New York; Museum of Modern Art, Pompidou Center, Paris. She has held teaching positions at the School of the Art Institute of Chicago, the University of South Florida, and the San Francisco Art Institute. She has lectured widely in the US and Europe on experimental cinema and its place within modern and contemporary art. Jane Conger Belson Shimané was born in Missouri and studied at the San Francisco Art Institute. She married Jordan Belson, the University of California–trained painter who took up abstract animation and exhibited as part of the “Art in Cinema” series as early as 1947. Belson Shimané premiered her first film, Logos, in 1957, the same year that her husband created the “Vortex” light shows with sound artist Henry Jacobs. Featuring an electronic score by Jacobs, her animated work played at festivals in North America and Europe and toured Latin America through the United States Information Agency. Belson Shimané followed up with Odds & Ends and by 1960, had three more films under way. Alee Peoples was born in 1981 in Oklahoma City. She maintains a varied artistic practice that involves screen-printing, sewing, sculpture and film. She is inspired by pedestrian histories, pop song lyrics and invested in the hand-made. Bruno Delgado Ramo’s practice focuses mainly on the moving image, seeking to deal with materialistic site-specific cinema and to address the spatial conditions the cinematographic language and apparatus bring into play. Considering the room and its inherent architectural elements, like the window, as spatial devices, he aims to reveal their latent cinematographic aspects. He describes his work as research that is grounded in artistic practice, within which the idea of process is particularly relevant so he often conceives the film as the record of a process and both filming and screening as light-based processes at specific locations and contexts. Lately he has been working on Super 8 and at several picture and sound in-camera procedures it allows. His practice has led him to films, spatial and live proposals and printed matter. Lucie Leszez was born in 1994. She began her doctoral research in cinema at Grenoble University (France) in 2018, is a member of the artist-run film labs l’Abominable and MTK, as well as a member of the review “La Revue Documentaires”. Through a multidisciplinary artistic practice, Valentina Alvarado Matos explores the hybridization of the various plastic languages that she uses -collage, ceramics, photography and analog film- to elaborate discourses linked to memory and identity displayed in unfinished geographies. Her work establishes a dialogue where the poetic and the political are an important part of her artistic proposal. In 2016 she participated in the exhibition El pueblo - Searching for Contemporary Latin America at the Oberhausen Festival (Germany). Her film pieces have been presented at festivals such as S(8) Cinema Mostra Periférico, L'Alternativa, Antimatter Film Festival, International Film Festival Rotterdam, Festival Punto de Vista, among others.In early 2020 she travels to Canada as part of a film residence at Liaison of Independent Filmmakers of Toronto in collaboration with the S(8) festival and ACE Cultural. Paula Froehle is an independent filmmaker working in Chicago. She has been making films for over ten years which have been funded both regionally (Illinois Art Council and Chicago Arts Council) and nationally (National Endowment for the Arts) and have screened/won awards at numerous festivals, including the Ann Arbor Film Festival, the London International Film Festival, the New Zealand Film Festivals, the Tampere International Film Festival, Finland, the Houston International Film Festival, the Mint Museum of Art, the Baltimore Art Museum and others. In addition to her own films, she is an Assistant Professor at Columbia College, Chicago and has directed music videos and music-related films for Atavistic, a Chicago-based production company. Tomonari Nishikawa’s films explore the idea of documenting situations/phenomena through a chosen medium and technique, often focusing on its process. His films have been screened internationally, and he is currently teaching in the Cinema Department at Binghamton University. Mike Gibisser is a filmmaker interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work. His films have screened at numerous festivals and venues including Wavelengths, Oberhausen, Ann Arbor, the Harvard Film Archive, and Projections / Views from the Avant-Garde. He lives in Milwaukee where he teaches in the Department of Film, Video, Animation, and New Genres at the University of Wisconsin-Milwaukee. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581393025548-DIK1SSN0FOVHCEDG620H/oddsandends.png 2020 Program 7 Odds & Ends Jane Conger Belson Shimané 1959 | 4 minutes | USA | 16mm | color | sound Odds & Ends is a sly comment on the collage film and Beat culture. Strung together with doublespeak and non sequiturs, the monologue skirts the edge of nonsense as Henry Jacobs (credited via the anagram Rheny Bojacs) waxes on about poetry, jazz, “reaching the public,” “having a good time,” and—although “money doesn’t count”—the “possibility of subsidy” through grants. The visuals race on through dazzling transformations, both amplifying and undercutting the patter. — National Film Preservation Foundation https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581389625156-NMJMELWQPL7CP9VII23F/scan-5218+%281%29.jpg 2020 Program 7 Locations Bruno Delgado Ramo 2019 | 7 minutes | Spain/Belgium | super 8 | color | sound Conceived as a diptych, the first part consists of an unexposed old Super 8 magnetic-stripped Kodachrome Sound. In-camera recorded, a voice reads a text which describes what it is about to be seen in the second half. This text was written before the footage was processed in the attempt to remember what was seen through the viewfinder. The second half consists of a silent fresh Super 8 stock exposed to light. A sort of spot-the-difference between the verbal abstract description and the pictures, both halves take place at the same location. Voice by Polina Akhmetzyanova. -BDR https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581710659321-U50JJS3Z61W3T7C636BL/9.jpg 2020 Program 7 Borgo Lucie Leszez 2019 | 4 minutes | France | 16mm | b&w | silent Views of everyday life, Borgo Panigale, the road to the San Vitale Gate in Bologna and a breakaway: the Apeninns, Portivy. A tremor of the photographed landscapes go with the appearance and the disappearance of images seeking their frame. -LL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581395227976-T8L9KGJFOXW4NCVU965X/Slow+Volumes+Still+02.jpg 2020 Program 7 Slow Volumes Mike Gibisser 2019 | 5 minutes | USA | 35mm | color | sound A motion study of passing time. Shot using a hand-built camera, 35mm film is drawn past a thin vertical aperture, organizing the image temporally. Familiar objects dissolve into abstract lines unless in motion past the lens, their shape determined not by their physical features but in the speed of their movement. -MG http://www.lightfieldfilm.org/2020-program daily 0.75 2020-10-07 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581389563464-VLUJ2XT4YFXZP9M2HYS1/scan-5221.jpg 2020 Program Program 7 Sunday, March 15, 2020 @ 7pm The Lab ▴ Sandra Davis ▴ Jane Conger Belson Shimané ▴ Alee Peoples ▴ Bruno Delgado Ramo ▴ Lucie Leszez ▴ Valentina Alvarado Matos ▴ Paula Froehle ▴ Tomonari Nishikawa ▴ Mike Gibisser ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581353296436-OECRSUVZTR5HPTL26BAS/10_ALTIPLANO_MSZLAM_4x3_300dpi.jpg 2020 Program Program 5 Saturday, March 14, 2020 @ 9pm The Lab ▴ Jonathan Schwartz ▴ Jean-Jacques Martinod ▴ Ei Toshinari & Duy Nguyen ▴ Malena Szlam ▴ Annapurna Kumar ▴ Wenhua Shi ▴ Joshua Gen Solondz ▴ Leslie Supnet ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581525113666-2Z7BOUV1WTVVKLFHQN1S/10.+George+Clark_Double+Ghosts_2018_004.jpg 2020 Program Program 6 Sunday, March 15, 2020 @ 5pm The Lab ▴ George Clark ▴ Sílvia das Fadas ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581352741524-TSTBBC73K6O1PURPIVLI/midnight-orange-03.jpg 2020 Program Program 2 Friday, March 13, 2020 @ 9pm The Lab ▴ Andrew Busti ▴ Federico Lanchares ▴ Kioto Aoki ▴ Gautam Valluri ▴ Christopher Becks & Emmanuel Lefrant ▴ Julie Murray ▴ Takashi Ito ▴ Marcelle Thirache ▴ Antoinette Zwirchmayr ▴ Paul Sharits ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581353085591-3GLFADKK2L2P9LD0EBNZ/SomethingToTouch.jpg 2020 Program Program 4 Saturday, March 14, 2020 @ 7pm The Lab ▴ Stuart Moore ▴ Lana Lin ▴ Jodie Mack ▴ Matthias Muller ▴ Gautam Valluri ▴ Eva Claus ▴ Mike Stoltz ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581352497326-P6RYWFM5KAYIRD6RFTUZ/Amalya_RUN_Still03.jpg 2020 Program Program 1 Friday, March 13, 2020 @ 7pm The Lab ▴ Briana Marela and Joel Skavdahl ▴ Stephanie Barber ▴ Anna Kipervaser ▴ Malic Amalya ▴ Sarah Hanssen ▴ Matt Whitman ▴ Bea Haut ▴ Claudia Siefen-Leitich ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581723514226-DWYGGXLZF32YR10HN6RP/acts%2Bof%2Blight%2Bangular%2Bmomentum.jpg 2020 Program Program 8 Sunday, March 15, 2020 @ 9 pm The Lab ▴ Bill Brand ▴ Luis Macías ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581352871440-QQ1SU0FXGZMYU8YL7WGW/WatchingtheDetectives2.jpg 2020 Program Program 3 Saturday, March 14, 2020 @ 5pm The Lab ▴ Chris Kennedy ▴ Deborah Stratman ▴ http://www.lightfieldfilm.org/2020-program-6 daily 0.75 2020-02-22 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1582412596900-7SWVMNP9Q4PZZSPFNMIM/Cemiterul3.jpg 2020 Program 6 The House is Yet to be Built Sílvia das Fadas 2018 | 35 minutes | USA/Portugal | 16mm | color | sound A travelogue to places that were created under a utopian impulse and which defy the surface of the world. Some built by artists and intellectuals, others by common people; all of them inhabited by visions to which they knew how to give shape – figura. In order of appearance: an ideal palace built by a postman after each of his daily rounds; a red house designed by a socialist agitator; a pacifist tower erected against the movements of History; an exuberant garden engendered in the feminine; and a merry cemetery, which conjures a community of equals in the outskirts of Europe. To ensure we risk our joy for those who act in their own time. -SDF https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2020 Program 6 George Clark is an artist, writer and curator. His work explores the history of images and how they are governed by culture, technology and social political conditions. Recent projects have sought to build new models of assembly, exhibition and moving image production. His films have shown at festivals and museums internationally including New York Film Festival (2019) Berwick Film and Media Art Festival (2019), Hanoi Doclab (2019), Taiwan Biennale (2018), AV Festival (Newcastle) (2018), Focal Point Gallery (Southend-on-Sea) (2018), Yunsun Museum (2018); Museum of Modern and Contemporary Art / MMCA, Seoul (2017), Museo de Arte Moderno de Buenos Aires (2017) and Museo de Artes Visuales / MAVI (2016) among others.. He is co-founder of the West Java West Yorkshire Cooperative Movement, a collaborative project with the Jatiwangi Art Factory and Pavilion. He has curated projects for museums, galleries, cinemas, and festivals with a focus on broadening the histories of film and video practice globally. He has curated projects for museums, galleries, cinemas, and festivals with a focus on broadening the histories of film and video practice globally. Sílvia das Fadas is a filmmaker, a researcher, a teacher, a wanderer. She studied cinema and aesthetics, committing herself to the material learning of film at The Portuguese Moving Image Archive and the Portuguese Cinematheque in Lisbon. Driven by a militant nostalgia, she moved to Los Angeles where she continued to craft her personal films in 16mm, at the California Institute of the Arts. She worked as a visual history researcher for the Academy of Motion Picture Arts and Sciences and collaborated with Los Angeles Filmforum until her visa expired and she moved to Vienna in search of a lively film culture. There she worked as a film projectionist for the Austrian Film Museum, while teaching at the Academy of Fine Arts, where she is currently a participant in the PhD in Practice program. She is the recipient of a Fundação Calouste Gulbenkian/ FLAD Scholarship, a CalArts School of Film/Video Scholarship, an Akademie Schloss Solitude Cooperation Fellowship with Staatliche Akademie der Bildenden Künste Stuttgart, and a FCT Doctoral Fellowship. Her films have been shown at numerous festivals, cinematheques and minor cinemas. She is interested in the politics intrinsic to cinematic practices and in cinema as a way of being together in restlessness and brokenness. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581456380640-DAE6FO8MSLR011SUU1T5/4.+George+Clark_Double+Ghosts_2018_037.png 2020 Program 6 Double Ghosts George Clark 2018 | 31 minutes | Chile/UK/Taiwan | 35mm | color | sound Double Ghosts explores the status and potential of unrealised and fragmented histories from the legacy of Chilean filmmaker Raúl Ruiz (1941 - 2011) to animist cinematic traditions in Taiwan. The project takes as its starting point an unfinished film shot by Raúl Ruiz in Taiwan in 1995. Based in Paris since the late 1970s Ruiz came to Taiwan to film 'The Comedy of Shadows / La comedie des ombres' with a script inspired by the Taoist philosophy of Chuang Tzu's 'Wandering on the Way' and Luigi Pirandello's 'Six Characters in Search of an Author'. The project was filmed at Chin Pao San cemetery with a Taiwanese cast and crew but never finished. The incompleteness of Ruiz's film is the starting point for 'Double Ghosts', that considers the echoes of this unrealized project to explore cinematic and political phantoms. Drawing on research and collaborations with filmmakers Valeria Sarmiento and Niles Atallah as well as Chilote fishermen, the film is staged as a series of actions seeking to reactivate this lost film. Filmed on 35mm film in Chile and Taiwan, 'Double Ghosts' follows traces across the Pacific from Ruiz's birthplace in Puerto Montt to the mountain cemetery in Taiwan. -GC http://www.lightfieldfilm.org/2020-program-1 daily 0.75 2020-02-19 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581382206268-34SS0FFUUKFOO2X8PIGD/closeAtHand.3.png 2020 Program 1 Close at Hand Sarah Hanssen 2001 | 4 minutes | USA | 16mm | b&w | sound Hand processed black and white images of an icy world collide with the sounds of breathing, heavy machinery and a drunken tune to create a sense of claustrophobic confusion and longing. Distortion, this is what happens when you get too close. -SH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581367602854-31E67JN9FEIWFI1MWHDY/KitchenBeets01.png 2020 Program 1 Kitchen Beets Bea Haut 2019 | 1 minute | UK | 16mm | b&w | sound Never-ending tidying up turned into rhythmic beat and magic trick. A brief structural film cut to the rhythm of the gap between the optical sound head and the image. -BH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581368820545-VSYBRK9TI9Y9OLSEH0D7/image-asset.png 2020 Program 1 IT WASN'T MEANT TO BE SEXY! / Sexy hätte das nicht sein sollen Claudia Siefen-Leitich 2019 | 2 minutes | Austria | 16mm | b&w & color | silent The male body in movement, in observation, in minimal processing, in fire, iron and steel. We watch and analyse, while the black and white delivers the inner monologue of the colour material. And the scratches. And there is only silence but be sure it wasn't meant to be sexy. Gentle hands, leading to self-observation. Until turning away: it will not stop, so say no more. -CSL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581366213717-K108VYPSD0WOJESEZUPI/Oh+My+Homeland+1.png 2020 Program 1 Oh My Homeland Stephanie Barber 2019 | 4 minutes | USA | 16mm | color | sound In 1985 the great soprano Leontyne Price sang the title role in Verdi’s Aida as her farewell opera. After the ‘O patria mia’ aria, the audience breaks into a four-minute applause. Oh My Homeland is the third in a series of minimal single shot 16mm films I’m currently building. It’s a film about representation, art, and material exchange. It’s a film about endings. It’s a film about identity, love, power, patriotism and the transcendent potential of art through the viewing of a face receiving adoration. A minimal gesture akin to the practice every portrait painter or mother recognizes as ineffably powerful. It is essentially a readymade and, like my book 'Night Moves' and my video 'Tatum's Ghost,' it continues to explore YouTube as a cultural and social archive. Oh My Homeland, while being simply a shot of Ms. Price’s face as she receives the applause and before returning to the role, expands with the unaltered meditation on the shot. The transformational power of art for society and the maker alike; the implication of Ms. Price’s race and the context to which she dedicated her life; the staggering political implications of the Verdi aria (a mournful and complicated love letter to Aida’s homeland) in a time in which love of country is hard to muster. -SB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581640248823-DUI45J05B25LW9HO50T7/Barber_Catalog_1.jpg 2020 Program 1 Catalog Stephanie Barber 2005 | 11 minutes | USA | 16mm | color | sound Catalog is a composition of stillness-inversion of the spectacle—actors are posed recreating various photographs in surroundings unfrozen. The sound track is a labile and dense tale of spaces, royalty and a photograph more mutable than an image should be. The sound track is read by Gregg Biermann. -SB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581557578328-48U893I2GLIL3J0XLLRG/BrianaJoel16mm.jpg 2020 Program 1 Resonant Being Briana Marela Lizárraga and Joel Skavdahl 2020 | 10 minutes | USA | 16mm direct animation and live sound performance A collaborative visual and sonic work exploring the interaction between 16mm direct animation loops projected on subtle movements of an emoting body. Surface transducers placed on cymbals amplify and resonate qualities of Briana's voice, enhancing and distorting sung and spoken text. A meditation on witnessing our own deepest flaws and transforming them into qualities that can contribute to our greatest strengths. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581366560296-KQXDMRAJEM0YUN2MGKPY/Amalya_RUN_Still11.png 2020 Program 1 RUN! Malic Amalya 2019 | 10 minutes | USA | 16mm | color | sound RUN! is a queer, experimental, anti-war film. Production on RUN! began in the summer of 2017, during Trump’s ongoing escalating threat of nuclear war and shortly after he announced his transgender military ban. While many mainstream LGBT organizations and their allies committed to fight against the trans military ban, RUN! is aligned with radical queer activists who have responded with critiques of the US military’s violence around the globe, destruction of the environment, and the trauma inflicted on service members and veterans. More: https://queertranswarban.wordpress.com RUN! includes three main components: footage from sites of nuclear development, detonation, industry, tourism, and activism in New Mexico and Vermont; a found-footage film on the lifecycle of houseflies; and a reenactment of Jack Smith’s 1969 drag performance as Rose Kennedy in his film Song for Rent. Through layering and juxtapositions of these sections, RUN! examines how the interlocking ideologies of war and white supremacy structure landscapes, community rituals, cinematic technology, entomology, epidemic management, and even notions of LGBTQ liberation. -MA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2020 Program 1 Briana Marela Lizárraga is a Latinx composer/artist formerly from Seattle, WA and now currently based in Oakland, CA. Pursuing an MFA in Electronic Music at Mills College, she has returned to working with a more experimental sound focus than past albums released commercially through independent label Jagjaguwar. She is also known for her work with sampled instrumentation and synthesis performance with MaxMSP, using her voice as a focal point as well as an ambient texture in compositions. Her current interests involve working with surface transducers, analog circuitry, and digital coding with micro controllers to engage objects and the body in live performance with mapping and gestural control. Joel Stephen Skavdahl is an American visual artist using a wide range of mediums including 2D illustration, screen printing, 16mm direct animation, analog photography and ceramics. He has been published by alternative small press publications such as Neoglyphic Media, Cold Cube Press, and DDOOGG. He often goes by pseudonym SEAGULLINVASION (also the name of his solo music project) and has played in bands Fake Sick, Holy Komodo, Crumbs, and Briana Marela. Currently living in Oakland, CA. Stephanie Barber is a writer and artist who has created a poetic, conceptual and philosophical body of work in a variety of media. Her films and videos are literary/cinematic hybrids that dissolve boundaries between narrative, essay and dialectic, works. They consider the basic philosophical questions of human existence (its morbidity, profundity and banality) with play and humor. Barber’s films and videos have screened nationally and internationally in solo and group shows at MOMA, NY; The Tate Modern, London; The Whitney Museum of American Art, NY; The Paris Cinematheque; The Walker Art Center, MN; MOCA Los Angeles, The Wexner Center for Art, OH, among other galleries, museums and festivals. Her videos are distributed by Video Data Bank and her films can be found at Canyon Cinema and Fandor.com. Her books Night Moves and these here separated... were published by Publishing Genius Press in 2013 and 2010 respectively. Her collection of very short stories All The People was published by Ink Press Productions in 2015. The forthcoming Trial in the Woods will be published by Plays Inverse in Spring 2020. Anna Kipervaser is a Ukrainian-born multimedia artist. Her work spans multiple disciplines including experimental and documentary moving image works in both 16mm film and video. Her moving image work has screened at festivals internationally at Crossroads Film Festival, Alchemy Film and Moving Image Festival, Antimatter, Fracto Experimental Film Encounter, Slamdance Film Festival, Full Frame Documentary Film Festival, Big Sky Documentary Film Festival, Milwaukee Underground Film Festival, Chicago Underground Film Festival, Athens International Film and Video Festival, Indie Grits Film Festival, Montreal Underground Film Festival, Haverhill Experimental Film Festival, Muestra Internacional Documental de Bogota, among others. Anna's work also screens in classrooms, galleries, microcinemas, basements, and school houses! She is also painter, printmaker, curator of exhibitions, programmer of screenings. Anna currently lives and works in Sharjah, United Arab Emirates. Malic Amalya’s films and videos have screened widely, including in the Transgender Museum of Art and Herstory exhibition at the Portland Art Museum in Oregon, the Museum of Northwest Art in Washington State, the San Francisco Cinematheque’s Perpetual Motion series, Festival Les Merveilles in Paris, MIX Copenhagen, Cinema of the Dam’d in Amsterdam, EXiS Festival in Seoul, Onion City in Chicago, the Milwaukee Underground Film Festival, and the TIE Cinema Exposition in Milwaukee & Montreal. Malic collaborates with the artist Nathan Hill as Vitreous Chamber. They are currently Affiliate Artists at the Headlands Center for the Arts in Sausalito, CA and have been Artists in Residence at Signal Culture in Owego, NY. Malic teaches time-based art at the California College of the Art and film production at the City College of San Francisco. Originally from Burlington, Vermont, Malic lives in Oakland, California. Sarah Hanssen’s film and video works have shown at festivals, museums and screenings around the world. She received her Masters of Fine Art in film and video at the Massachusetts College of Art. Her writing has been published in The Projector: A Journal on Film, Media, and Culture, Community College Journal of Research and Practice, and The Curator. To see her film and video work, visit www.sarahhanssen.com Matt Whitman (b. 1988, West Chester, Pennsylvania) is a New York-based artist working with moving image, photography, installation, writing and performance. His work has appeared at Anthology Film Archives, New York; Microscope Gallery, New York; La MaMa, New York; Ethan Cohen Gallery, New York; the Brooklyn Film Festival, New York; SF Cinematheque, San Francisco; The Front, New Orleans; The Lab, San Francisco; Unexposed Microcinema, Durham, North Carolina; and ‘8 fest’ Toronto, Ontario among others, with forthcoming screenings at the Manchester Film Festival, Manchester, UK. He has taught at Parsons School of Design since 2014. Bea Haut is an artist and Experimental filmmaker who works with mainly black and white 16mm film. During the 1990s she worked in the Live Art collective Loophole Cinema, and more recently produced Analogue Recurring, a 16mm screening event in London. She ran a B&W process and print service at the 16mm lab within the University of East London (Film In Process), as well as teaching. Her films have been shown internationally in festivals such as Media City Film Festival, Edinburgh International Film Festival, Experiments in Cinema, Alchemy, Light Field and the London Film Festival. Her films are distributed by Light Cone. Claudia Siefen-Leitich, born in 1972, theatre work & film editing; publicist, editor and filmmaker, focus with analogue film and Japanese avant-garde, as well as industrial film. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581366845581-K2TX9BKJQ1PPF2P8YSI4/_How-a-Sprig-of-Fir_still02.jpg 2020 Program 1 How A Sprig of Fir Would Replace a Feather Anna Kipervaser 2019 | 8 minutes | USA | 16mm | color | silent Taking its title from Charles Altamont Doyle, the film is a meditation on ritual, at once a labor of love and of pain, of parting. A taxonomy of the investigation of love, of becoming. In perpetual beginning. In perpetual ending. Coming into vision, into the present, a leaving. A leaving. -AK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581367291478-PF18TE6JRSETA584RADM/Film_digitalia_profile_picutre_No_8_Still_1_Matt_Whitman.png 2020 Program 1 Film digitalia, profile picture, No. 8 Matt Whitman 2019 | 4 minutes | USA | 16mm | color | sound This body of work is a textual and archival response to and documentation of perpetual discrepancies—between living and deceased, public and private, physical and virtual—found in moments of contemporary mourning. Shot and exhibited on 16mm film, the work’s own ontology speaks to the material vulnerabilities, susceptibilities, affective properties of the physical archive, particularly in juxtaposition to contemporary modalities of digital memory. This body of filmic work is seen to perpetuate, in vain, a synoptic visual language of social media, while challenging the immediacy and omnipresence of written language created for and within a digital social space by allowing it to be made readable only through its recording onto and reading from film. -MW http://www.lightfieldfilm.org/2020-program-4 daily 0.75 2020-02-19 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581384198650-ED9W7KCKPXV8RZXBLALK/tirana.jpg 2020 Program 4 Tirana Eva Claus 2019 | 3 minutes | Belgium/Albania | 16mm | b&w | silent An afternoon filming in Tirana, Albania; going up and down the pyramid. Kids are observed through an admiring gaze. They proudly show us their urban playground, climbing to the top, ruling their city. -EC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581383297258-C4L6AMG7W4N60MABGG2V/Durbaar_01.jpg 2020 Program 4 Durbaar Gautam Valluri 2019 | 9 minutes | France/India | 16mm | color | sound A mood board for the Deccan Sultanate of South India. A tapestry of images takes us through lavish chandeliers from the court of the Last Nizam of Hyderabad to the illuminated memoir of Babur, the founder of the Mughal Dynasty. A series of disappearing sonic crescendos flood underneath, remembering the fall of a former grandeur. This film is an ode to intricacy and majesty, through reverie and voyeurism. -GV https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581382986568-6FS0SG9JAUCOPM5QV3I7/5891ed1d5847d.jpg 2020 Program 4 Stranger Baby Lana Lin 1995 | 14 minutes | USA | 16mm | b&w | sound Stranger Baby by Lana Lin made in 1995, is about micro-narratives moving between fiction, non-fiction, and science fiction elaborate multiple meanings of the term "alien." "Substituting sly metaphor for political rhetoric on immigration, Lin examines our world of ethical and racial complexities." – LA Asian Pacific Film Festival https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581382817131-JUW23K6SWTMQTUMNPNIJ/Zinn-1.jpg 2020 Program 4 Zinn Stuart Moore 2018 | 3 minutes | Great Britain | 35mm | color | sound A reflection on the changing and unchanging geology of a Dartmoor river. A Deep Time film commissioned by Mayes Creative for the Dark Skies: Bright Stars project, Cornwall. Filmed on location with 16mm clockwork Bolex camera, at Bantham on the coast of South Devon, Great Britain, Zinn is a creative exploration of the temporalities and effects of deep time, in which the film-maker responded intuitively to the location at low tide one summer afternoon. The 16mm clockwork Bolex camera became a sensory extension of his body, capturing on film his intuitive response to the embodied experience of the particular landscape of the estuarine beach as the tide came in, its sands shaped by cycles of sedimentation and erosion, a process of lifting up then grinding down the rocks of nearby Dartmoor over many millions of years. The sound design uses sonified data from the Large Hadron Collider to imagine the deep time processes taking place within the mantle of Dartmoor, with deep resonant bass undertones suggesting geological infrasound. -SM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2020 Program 4 Stuart Moore is a film-maker and sound artist who uses film-based and digital technologies to make single and multiple screen artworks that investigate our relationship to place, exploring landscape and the environmental tensions of urban regeneration and expansion. His work is shown worldwide across public, gallery and online spaces, with recent screenings at Festival 1666 (São Paulo, Brazil), 10th Bridges International Film Festival (Nafplio, Greece), and On The Surface of Things exhibition (Sheffield, UK). Lana Lin is a filmmaker, artist, and writer whose creative practice concerns embodied vulnerabilities. She has produced a body of experimental films and videos that interrogate the politics of identity and cultural translation through attention to the formal capacities and historical contingencies of moving image media. Since 2001, she has focused on collaborative multi-disciplinary research-based projects (as Lin + Lam) that examine the construction of history and collective memory. Her works have been screened and exhibited at UnionDocs, Brooklyn, Stedelijk Museum, Amsterdam, Gasworks, London, and Auckland Festival of Photography, among others. Lin has received awards from the Javits Foundation, Fulbright Foundation, Jerome Foundation, New York State Council on the Arts, New York Foundation for the Arts, and has been a fellow at the MacDowell Colony, Civitella Ranieri, and the Vera List Center for Art and Politics. Lin is Associate Professor of Film Theory and Digital Cinema and Director of the Undergraduate Programs in Media Studies at The New School, New York. Jodie Mack is an experimental animator who received her MFA in film, video, and new media from The School of the Art Institute of Chicago in 2007. Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres, her handmade films use collage to explore the relationship between graphic cinema and storytelling, the tension between form and meaning. Musical documentary or stroboscopic archive: her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. The works unleash the kinetic energy of overlooked and wasted objects and question the role of decoration in daily life. Mack's 16mm films have screened at a variety of venues including the Locarno Film Festival, the Toronto International Film Festival, the New York Film Festival, the Jeonju International Film Festival, and the Viennale. She has presented solo programs at the 25FPS Festival, Anthology Film Archives, BFI London Film Festival, Harvard Film Archive, National Gallery of Art, REDCAT, International Film Festival Rotterdam, Shenzhen Independent Animation Biennale, and Wexner Center for the Arts among others. Her work has been featured in publications including Artforum, Cinema Scope, The New York Times, and Senses of Cinema. She was the 2017/18 Roberta and David Logie/Film Study Center Fellow at the Radcliffe Institute for Advanced Study and a 2018/19 Fellow at the Film Study Center Fellow at Harvard University. She is a 2019 Artist In Residence at the Headlands Center for the Arts, and she is an Associate Professor of Animation at Dartmouth College. Matthias Müller is a German experimental filmmaker and curator, often working in the field of found footage films. From 1994 to 1997 he worked as Guest Professor at the Johann Wolfgang Goethe University Frankfurt am Main (Germany), and from 1998 to 1999 at the Dortmund Fachhochschule. Mike Hoolboom writes that "Müller's gorgeous chromatic schemes, his characteristic syncopation, grand eye for detail, and his resolute focus on the traumas underlying his subjects, the fact, that his empathy with his subjects is so perfectly borne into the apparatus of a materialist film practice, all this makes him one of the fringe's most powerful and most perfect makers." Gautam Valluri is an artist working with film. His work explores the relationship between architectural spaces and personal histories through the materiality of celluloid. He is the recipient of Masters Degrees in Experimental Film from Kingston University London and Université Paris VIII. His work has been exhibited at Institute of Contemporary Art (ICA) in London, Cinematek in Brussels, CCCB in Barcelona, Museu do Arte Moderna in Rio de Janeiro, The Korean Film Archive in Seoul and at various film festivals including International Film Festival Rotterdam, BFI London Film Festival, Edinburgh International Film Festival, European Media Art Festival (Osnabrück) and Images Festival (Toronto). Eva Claus is working primarily with 16mm film. Educated in photography at the Royal Academy of Fine Arts, Ghent, Belgium and at the Friedl Kubelka School for independent film in Vienna, Austria. Her films have been screened in various places over the world. Eva currently lives and works in Brussels. Mike Stoltz is a Los Angeles-based artist whose practice is dictated by process, working directly with moving images, sound, special effects, montage and projection to reexamine the familiar. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581383089581-MM1XMPXOL4BU7KFEIJGE/WL2.jpg 2020 Program 4 Wasteland No. 2: Hardy, Hearty Jodie Mack 2019 | 7 minutes | USA | 16mm | color | silent Garden ghosts flirt with the weeds of spring, cycling matter[s] and lives and deaths. From Felix Salten’s Bambi, chapter on Winter: "Can it be true," said the first leaf, "can it really be true, that others come to take our places when we're gone and after them still others, and more and more?" "It really is true," whispered the second leaf. "We can't even begin to imagine it, it's beyond our powers." "It makes me very sad," added the first leaf. They were very silent a while." -JM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581383220084-H2I8E1EEM7NXSQHQCPL0/unnamed.jpg 2020 Program 4 Alpsee Matthias Müller 1994 | 14 minutes | Germany | 16mm | color | sound “Despite the seemingly innocuous gestures of household life, a dark, unmanageable world seems to want to erupt from it. At one point it literally does: in a stunning image, the milk the mother pours for her son overflows the glass onto the table, the floor, and eventually down the hall in an endless stream. This uncontrolled secretion, pure white, is disturbingly connected to the enigmatic maternal body. The sparse decor of the home, the primary color scheme, and high key lighting all emphasize the preternatural clarity of the image in ALPSEE. As in allegory, the sharp definition of the image belies its opaque, brooding signification. The pristine look of this film thus gives rise to its confusing, nightmarish quality, borne out of its name: the German word for nightmare is Alptraum.” –Alice A. Kuzniar https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581384255626-BWY6HR9VX4KX5LDZ2G9B/SomethingToTouch02.jpg 2020 Program 4 Something To Touch That Is Not Corruption Or Ashes Or Dust Mike Stoltz 2019 | 7 minutes | USA | 16mm | color | sound Fences, zooms, blastbeats and oscillators search for possibility or perforation as walls close in. Attempting to break free from patterns and spirals as bodies become contained. -MS http://www.lightfieldfilm.org/2020-program-8 daily 0.75 2020-02-29 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581721744815-TQQLGICRYFJREB0FSFOK/acts%2Bof%2Blight%2Brate%2Bof%2Bchange.jpg 2020 Program 8 Part 1: Rate of Change 1972 | 18 minutes | USA | color | silent Rate of Change has no original, no frames, only slow continuously shifting colors, cycling around the perimeter of the spectrum. The changes are so slow as to be unseen, yet they alter perception of the color. -BB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2020 Program 8 Bill Brand is a multi-disciplinary artist whose films, public artwork, installations and works-on-paper have exhibited worldwide in museums, galleries microcinemas and on television. His 1980 Masstransiscope, an animated mural installed in the New York City subway, is in the MTA Arts and Design permanent collection. Bill Brand’s artwork has been featured at Museum of Modern Art, Whitney Museum, Smithsonian American Art Museum, National Gallery of Art, Anthology Film Archive and Shanghai Duolun Museum of Modern Art. He is represented by Galerie Arnaud Lefebvre, Paris. His films have been presented at major film festivals including the Berlin Film Festival, New Directors/ New Films Festival, Tribeca Film Festival and Rotterdam Film Festival. Luis Macías is an artist, filmmaker and image-moving composer. Focused on experimental and procedural practices of analog image. His works in Super 8,16mm, 35mm and/or video format are composed for projection, performance or installation. Films and expanded cinema pieces have been seen in prestigious film, art and music festivals as well art centers, museums and alternative spaces around the world. He’s been part of collective exhibitions and had one individual. He has collaborated with various artists, musicians and filmmakers for the creation of collective works. Co-founder and active member of CRATER-Lab, an independent artist-run-film Lab for analog cinema. In parallel develops theoretical and practical workshops specialized in different variants of experimental film in art centers and/or art-film schools as EQZE. Luis alternates his art work with specialized teaching in experimental cinema and the exploration of analogue moving images. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581722041847-COCPS2EKTWK6FB05VIVL/Screen+Shot+2020-02-14+at+5.13.44+PM.png 2020 Program 8 Acts of Light Bill Brand Acts of Light is a trilogy consisting of Rate of Change, Angular Momentum, and Circles of Confusion. Together they develop a study of pure color based on the notion that film is essentially change and not motion. The films build one on the other as first pure change, then relational change, and finally, irrational change. They can be seen together or as separate works. -BB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1582834594472-N5JWX24OBK0MC50FK166/logo_irl_eng_negre.jpg 2020 Program 8 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581721960688-C9I49TDU1HMGLYY28T1A/acts%2Bof%2Blight%2Bcircles%2Bof%2Bconfusion.jpg 2020 Program 8 Part 3: Circles of Confusion 1974 | 15 minutes | USA | color | sound In this film, circles of colored light (red, green, blue) pulsate and flicker as they move around the frame. Where they intersect, they display a variety of secondary colors. The term, circles of confusion belongs to the physics of the lenses. Here it has to do with the focus of light. Here it refers to the focus of mental and emotional energies as an irrational system for composing a film. -BB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581698631436-CZ95HIYQK6PEP79MF5SQ/theeyesempty.png 2020 Program 8 THE EYES EMPTY AND THE PUPILS BURNING OF RAGE AND DESIRE Luis Macías 2018 | 20 minutes | Spain | 16mm | color | silent Without image. Silent. A exploration of the emulsion. Without description. ...the idea is to reduce to the minimum the elements that form the cinematograph device. To work with less elements but having a deep control over it. The limitation of using only 2 meters of processed film stock that becomes totally black is highly stimulating. I’m forced myself to control each frame with all — only — the elements of the projection, light, shutter and focus… -LM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581721861159-H9PQZQSZ08W1WMYBMG2I/acts%2Bof%2Blight%2Bangular%2Bmomentum.jpg 2020 Program 8 Part 2: Angular Momentum 1973 | 20 minutes | USA | color | sound Here, by contrast [to Rate of Change], the film is richly sensuous. Again nearly continuous color changes rotate around a spectrum, but this time at varying speeds of rotation and degrees of intensity. The colors on the left start nearly white and rotate very slowly. As the film progresses the color value become darker and the speed of rotation increases until, by the end, the color is nearly black and rotates around the spectrum about once per second. On the right, the opposite occurs. It starts black and progresses nearly to white. The varying rates of rotation determine the moment combination of colors. The film has an improvised electronic soundtrack by Richard Teitelbaum. -BB http://www.lightfieldfilm.org/2020-program-5 daily 0.75 2020-02-19 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581442022103-KUDKCZEVXM482GXJLMEU/prefacetored.jpg 2020 Program 5 A Preface to Red Jonathan Schwartz 2010 | 6 minutes | USA | 16mm | color | sound A single recording, recorded in a tunnel that one passes through after exiting a boat taking you from one continent to another, where people are selling bright colored toys and bright white sneakers. for the brief variations in the movement on the periphery. -JS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581375265542-JL2K7RNQGZJ4A9RHUUNF/OjoNocturno2.png 2020 Program 5 Grabados del Ojo Nocturno Jean-Jacques Martinod 2016 | 7 minutes | Ecuador/Morocco | 16mm | b&w | sound A collage of collected memory turned ritual travelogue and sensory vision: from the Sahara to the oceans of South America, passing through an old ancestors abode. -JJM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581558692261-WJXRU50WUEGGOFC55QRS/theisland1.png 2020 Program 5 The Island Leslie Supnet 2017 | 2 minutes | Canada | super 8 | b&w | sound A penultimate late summer trip to Toronto Islands. -LS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581375835224-7RJUUIWCLNHOAY3WB56P/gutai.png 2020 Program 5 Gutai Wenhua Shi 2019 | 8 minutes | China/USA | 16mm | color | sound Wenhua took on a radical use of single frame image capture and examines his strange and familiar hometown Wuhan in China (Summer before the virus outbreak), which he has been away from for nearly two decades. The film title comes from postwar Japanese avant garde artist group Gu-Tai. The kanji (Chinese) used to write 'gu' means tool, measure, or a way of doing something, while 'tai' means body. The film is the result of intense looking and seeing what might not be there. -WS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581375489309-Z3VD9XUMR0PY04RR472S/01_ALTIPLANO_MSZLAM_4x3_300dpi.jpg 2020 Program 5 ALTIPLANO Malena Szlam 2018 | 16 minutes | Chile/Argentina | 35mm | color | sound Filmed in the Andean Mountains in the traditional lands of the Atacameño, Aymara, and Calchaquí-Diaguitain Northern Chile and Northwest Argentina, ALTIPLANO takes place within a geological universe of ancestral salt flats, volcanic deserts, and coloured lakes. Fusing earth with sky, day with night, heartbeat with mountain, and mineral with iridescent cloud, ALTIPLANO reveals a vibrating landscape in which a bright blue sun threatens to eclipse a blood-red moon -MS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581558497178-N1F1XAPDF8NU189PUJW6/TourismStudies.jpg 2020 Program 5 (tourism studies) Joshua Gen Solondz 2019 | 8 minutes | USA | 35mm | color | sound A collection of unused footage/home movies accumulated over ten years that became too much of a weight. The material became a Rorschach test, I saw an accepting cloud. -JGS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581375562165-H5IG24E1WHWV5ADWT3UI/ASWSA_01.jpg 2020 Program 5 ...And So We Start Again Ei Toshinari & Duy Nguyen 2019 | 9 minutes | Japan/USA | 35mm | color | sound This is the end, but also a new beginning. We hear voices and we see a family. There is rain and there is the sun. We see a bird and we hear singing. There is a dog. There is a cow. There are flowers and there are landscapes. Heisei ends and Reiwa begins. A new era is coming and we feel old. And so we start again. -ET & DN https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2020 Program 5 Jonathan Schwartz was a filmmaker, teacher, and source of inspiration for all his friends and students. Jonathan incorporated found and collected materials in many of his films, and simultaneously developed his unique 16mm vision through intimate exchanges with his subjects, handheld gestures, in-camera superimpositions, and a profound attention to the transient qualities of the world around us. Whether in his short collage films or works shot in his home, on his many walks, or during cinematic journeys to Israel, India, Turkey, or Iceland, his work simultaneously embodies a devotion to the ephemerality of external worlds and a gestural responsiveness to evanescent internal states. Often incorporating aurally textured poetic readings, and other times eschewing all words, Jonathan's films both lacerate and console as we confront his unique cinematic expression of sorrow, disquiet, and exultation. Jonathan received his MFA at Massachusetts College of Art where he studied under professors Mark Lapore, Erika Beckman, and Saul Levine. Over the years he taught courses at the School of Museum of Fine Arts and Massachusetts College of Art and Design in Boston and at Bennington College in Vermont. From 2008 to 2018 he was Associate Professor at Keene State College in New Hampshire. He lived in Bratteboro, Vermont. Jean-Jacques Martinod is a filmmaker and multimedia artist. His works oscillate between modalities of hybrid cinemas using methodologies that experiment with archival materials, celluloid film, analog tape, digital media, synesthetic operations, personal mythologies and travelogues. His work has been exhibited in festivals that include FIDMarseille, International Film Festival Rotterdam, Images Festival, Alchemy Film & Moving Image Festival, European Media Arts Festival, Cámara Lúcida, Sheffield Doc/Fest, among others, as well as museums, galleries and clandestine DIY screenings. He is also co-founder of EVIDENCE, a micro-publishing project that releases radical poetry, visual arts, photography, and also para-essayistic works within the world of avant-garde cinema. Originally from the city of Guayaquil, he currently resides in the high deserts of New Mexico. Ei Toshinari & Duy Nguyen live and work in Los Angeles. They previously collaborated on Running in Circles (2018) and Dog in the Shade (2016). Born in Chile, Malena Szlam is an artist and filmmaker working at the intersection of cinema, installation, and performance. Her practice explores the relationship between the natural world, perception, and intuitive process. The poetics developed through her time-based works and in-camera films engage the material and affective dimensions of analogue film practice. Szlam’s work has been exhibited in numerous festivals and museums including Rotterdam, Toronto, New York, Edinburgh, Media City, 25 FPS, Mar del Plata, and Hong Kong Film Festivals, the Museum of Fine Arts Boston, the Buenos Aires Museum of Modern Art, the Henie Onstad Kunstsenter (Oslo), and the Louisiana Museum of Modern Art (Denmark). Solo screenings have been presented at Los Angeles Filmforum, San Francisco Cinematheque, and FIC Valdivia (Chile). Annapurna Kumar is a filmmaker who makes work about mortality, fertility, and the hypocrisies of consumerism. Her animated shorts embrace improvisation, and collage appropriated images and sounds from pop culture alongside drawing and CGI. Wenhua Shi pursues a poetic approach to moving image making, and investigates conceptual depth in film, video, interactive installations and sound sculptures. His work has been presented at museums, galleries, and film festivals, including International Film Festival Rotterdam, European Media Art Festival, Light Field, Experiments in Cinema Athens Film and Video Festival, Ann Arbor Film Festival, Big Muddy FilmFestival, MUFF, Pacific Film Archive, West Bund 2013: A Biennale of Architecture and Contemporary Art, Shanghai, Shenzhen & Hong Kong Bi-City Biennale of Urbanism, and the Arsenale of Venice in Italy. He has received awards including the New York Foundation for the Arts, the New York State Council on the Arts, and Juror’s Awards from the Black Maria Film and Video Festival. Joshua Gen Solondz is a film/media artist and musician. He’s shown work at a variety of festivals including MOMA’s Documentary Fortnight, Images Festival, video_dumbo, Toronto International Film Festival, Lima Independent Film Festival, Onion City, Chicago Underground, FICValdivia, Internationale Kurzfilmtage Oberhausen, CAAMFest, and the New York Film Festival. Josh also has screened at venues such as Light Industry, UnionDocs, Harvard Film Archive, Parsons Hall Project Space, DINCA, Plug Projects, and New York University. Leslie Supnet is a moving image artist based in Winnipeg. She uses animation and found media to create work about our relationship to loss, time and change. Her work has screened at micro-cinemas, galleries and film festivals internationally such as TIFF Short Cuts Canada, Melbourne International Animation Festival, International Film Festival Rotterdam, Antimatter, amongst others. She has taught animation for various artist-run centres, community-based initiatives and at OCAD University. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581375678176-2K2KH9ENYU6BDY9HTFFJ/STT-1.png 2020 Program 5 Something to Treasure Annapurna Kumar 2019 | 3 minutes | USA | 16mm | color | sound Warm Showers Make Me See Stars. -AK http://www.lightfieldfilm.org/light-field-2020-notice daily 0.75 2020-04-22 http://www.lightfieldfilm.org/canyon-cinema-salon-2021 daily 0.75 2021-01-30 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1612030287702-XRG0XQ45P5LYL6SCCO1I/pucill-milkandglass.jpg Canyon Cinema Salon: I Know the End http://www.lightfieldfilm.org/light-field-in-los-angeles daily 0.75 2022-09-20 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1663013308366-1DV17JLORTAI0530D56X/tirana.jpg Light Field in Los Angeles, presented by LA Filmforum and Mezzanine 3-Minute Hells Amy Halpern 2012 | 14 minutes | USA | 16mm | color | sound with Arwa Ibrahim 1 - Detention 2 - Hollywood Hills 3 - Reptile 4 - Bestiary 5 - Abstract and Concrete 6 - Doorway Occupation 7 - Sideways -AH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1663013063664-LJ2LYADEDZWYPR8DVU3R/Config_1.3.14.jpg Light Field in Los Angeles, presented by LA Filmforum and Mezzanine Configurations James Edmonds 2021 | 8 minutes | UK/Germany | 16mm | color/b&w | sound The little personal myths and structures we set up to aid the survival of the psyche in times of low harvest. Finding subtle points of reference in subject and camera movement, in the landscape, its details and the traditions of the season, I attempt to connect the outside with the embodied camera and the inward gesture of the brushmark. -JE https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1663013379722-DR66KV94UO2AD2XSLEQR/NE-Corridor.jpg Light Field in Los Angeles, presented by LA Filmforum and Mezzanine NE Corridor Joshua Gen Solondz 2022 | 7 minutes | USA | 16mm | color | sound SLICED UP FRAGMENTS ZIPPING AND FRAMING AS THE PRINT STRUGGLES TO MAKE IT THROUGH THE FRAME A WOMAN STANDS AND TURNS, A SCULPTURE APPEARS, A LAWNMOWER MOWS, SHREDDING AND FALLING APART -JGS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1663013195409-JWV6QO16C1TMTZJJ12XA/unnamed.jpg Light Field in Los Angeles, presented by LA Filmforum and Mezzanine Standing Forward Full Alee Peoples 2020 | 6 minutes | USA | 16mm | color | sound A helter skelter is an amusement ride with a spiral slide built around a tower. Like this film, an exorcism attempt of an unrequited desire, itʼs either moving too fast or at a complete standstill. Disorienting but exciting. -AP https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1663013141702-G2F1QZ586TRBAF3K6U7I/WL2.jpg Light Field in Los Angeles, presented by LA Filmforum and Mezzanine Astor Place Eve Heller 1997 | 10 minutes | USA | 16mm | b&w | silent Passersby at Astor Place in New York City speak silent volumes as they move by the mirrored surface of a diner window. I wanted to capture the unscripted choreography of the street, its dance of gazes and riddle of identities. This film is informed by the work of the Lumiere brothers, with an eye to permeating an authority of the static camera and establishing a question as to who is watching whom. -EH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1663012991173-DK01ZUWTZPILQGEDVIW2/Zinn-1.jpg Light Field in Los Angeles, presented by LA Filmforum and Mezzanine Moon Streams Mary Beth Reed 2000 | 6 minutes | USA | 16mm | color | silent Moon Streams represents a hand-painted abstraction of creation. The intensity of flowing water on the moon's surface builds as the shifting colors reveal the consequence of chaos in space. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1663013255915-UTVWUXBXQG5MVHRBZTWZ/Durbaar_01.jpg Light Field in Los Angeles, presented by LA Filmforum and Mezzanine Letters Dorothy Wiley 1972 | 11 minutes | USA | 16mm | color | sound Dorothy Wiley films four letters—a letter from her friend, a letter from worms, a letter from bugs, and a letter from her son. She and Bob and Diane Nelson whistle popular favorite classics for the soundtrack. http://www.lightfieldfilm.org/2023-program-6 daily 0.75 2023-04-01 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/98a54b18-bd60-4f08-9f0b-8528a0f65690/HRDPF_A_Brief_Rendering_Stills_1.1.11.jpg 2023 Program 6 HRDPF: A Brief Rendering Em Van Loan 2020 | 2.5 minutes | USA | 16mm | color | sound A portrait of a dear friend. Sound recording by Daniel Woehr and Helen Frazer. Writing by Helen Frazer. Image optically printed from footage found at a flea market in White River Junction, Vermont, after attending the Frazer Family Reunion. -EVL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/715fe847-0ffc-45f6-a5a0-8c1a87fa0e4f/no+backsies.jpg 2023 Program 6 No Backsies Sara Bulloch 2020 | 3 minutes | Canada | super 8 | b&w | sound Straight up angsty break up montage featuring cucumber. Created as part of WNDX's One Take Super 8. -SB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/5f08ca6e-bf92-48a4-9899-cda06e93758c/Screen+Shot+2023-02-28+at+6.19.33+PM.png 2023 Program 6 - Make it stand out The Electrolysis of Brine Mark Toscano 2008 | 8 minutes | USA | 16mm | Color | sound Brine is sodium chloride (NaCl) dissolved in water. If you perform electrolysis on brine you will get three substances: chlorine, hydrogen and sodium hydroxide. The electrolysis process is useful and common in the world of industry. For example, it aids in the manufacture of products as diverse as pesticides, soaps, fuels, and even margarine. This is one of the dullest educational films I have ever seen. A small attempt has been made to release its latent energy. -MT https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/db309daf-83bd-4ede-a71d-5f924c5d62d3/05+Briana+Marela1.jpg 2023 Program 6 - Make it stand out Briana Marela Lizárraga live performance 16mm direct animation loops by Joel Skavdahl https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/ea46a6cb-5b89-4e3b-961f-81a8b371f340/This+Person____.jpg 2023 Program 6 This Person Nora Rosenthal 2022 | 4.5 minutes | Canada | 16mm | color | sound This Person is a filmic essay about a very private person and their lover, who keeps getting distracted by the weight of the world. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/52c1a1f3-ae1e-427b-aff7-4032881209b9/wild+night+2.jpg 2023 Program 6 Wild Night in El Reno George Kuchar 1977 | 6 minutes | USA | 16mm | color | sound This film documents a thunderstorm as it rages in full fury above a motel in May on the southern plains. There's sun, wind, clouds, rain and electrical pyrotechnics ... with perhaps a glimpse of a fleeting human figure. But only a glimpse. -GK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/02628e05-1dd9-41eb-8fb2-07747508e054/the+information.jpg 2023 Program 6 the information Stephanie Barber 2021 | 1 minute | USA | 16mm | color | sound sometimes, among the rubble of the endless forgetting and re-membering of our personal and collective histories, an artifact emerges. a clue, a document. hard evidence. maybe we struggle to contextualize these fragments, maybe we marry them to other fragments and build new narratives in an attempt to squint back through the past and explain to ourselves how we got here. the information is a short exclamation mark of a video, fragments asserting themselves as whole auto-ethnographies. -SB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/94960d34-5dad-434d-89a2-f322ac270f8e/Blue+Diary+production+still+1+Copyright+1998+Jenni+Olson.jpg 2023 Program 6 - Make it stand out Blue Diary Jenni Olson 1997 | 6 minutes | USA | 16mm | color | sound Through voiceover and static San Francisco landscapes, Jenni Olson’s classic 1997 experimental narrative short tells the melancholy story of a dyke pining over a one night stand with a straight girl. -JO https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/f51aa144-aad0-4ee2-86e6-1a8727c9a19d/Whitman_Matt_THAT+WAS+WHEN+I+THOUGHT+I+COULD+HEAR+YOU+03.jpg 2023 Program 6 - Make it stand out THAT WAS WHEN I THOUGHT I COULD HEAR YOU Matt Whitman 2021 | 9 minutes | USA | 16mm | color | silent That was when I thought I could hear you on petals, on fire, and on the edge of the bridge. -MW https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/c7b3834f-21d3-439c-8ad9-d1241e93e0d2/MOONS_6.5K.jpg 2023 Program 6 Wasteland No. 3: Moons, Sons Jodie Mack 2021 | 6 minutes | USA | 16mm | color | silent A world tender and unhatched, Future chaos in repose, in slumber. Yggdrasil. Microcosmos. Batter in a bowl. A living wreath. Oleander hyacinth blow away dandelion, particles of an interplanetary lullaby. Dedicated to the one I love. Desiccated attic must momento mori in grace engraved. With the loss of the imaginary and the real, I am unspeakable as one remembers I once was this... before myself, and then nothing, before I could touch the envelope that is right before me, translucent, When I could cry but could not answer. - Darcy Shreve https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2023 Program 6 Stephanie Barber is a writer and artist who has created a poetic, conceptual and philosophical body of work in a variety of media, often literary/visual hybrids that dissolve boundaries between narrative, essay and dialectic works. Her work considers the basic philosophical questions of human and non-human existence (its morbidity, profundity and banality) with play and humor. Barber’s films and videos have screened nationally and internationally in solo and group shows at MOMA, NY; The Tate Modern, London; The Whitney Museum of American Art, NY; The Paris Cinematheque; The Walker Art Center, MN; MOCA Los Angeles, The Wexner Center for Art, OH, among other galleries, museums and festivals. Her videos are distributed by Video Data Bank and her films can be found at Canyon Cinema and Fandor.com. Her books Night Moves and these here separated... were published by Publishing Genius Press in 2013 and 2010 respectively. Her collection of very short stories All The People was published by Ink Press Productions in 2015. Her haiku collection Status Update Vol. 1 was published in the fall of 2019 by CTRL+P and her full length play Trial in the Woods was published by Plays Inverse in August 2021. Em Van Loan is an experimental filmmaker, artist, and educator. They make films engaged with what they call intimate tactility, in which they cultivate a physical relationship with an analog medium while exploring deeply personal content. Nora Rosenthal is a writer and filmmaker. She directed the darkly comic documentary Family Death Trip (2018), presented at POP Montreal, and her work as the producer and editor on the official music video for Basia Bulat’s “Your Girl” was recognized in the Prism Prize Top 20 for Best Canadian Music Videos in 2020. She is presently entering the second year of her MFA at York University, studying film production. Nora has attended residencies at the Can Serrat International Art Residency in El Bruc, Spain, and the inaugural Momus Emerging Critics Residency in Montreal. Previously Cult MTL’s Arts & Culture Editor, where she interviewed artists from Laurie Anderson to Marie Chouinard, she founded the magazine Rat Chat in 2021, and continues to write regularly, with bylines in Momus, MUBI’s Notebook, and The Editorial Magazine. She is a guest film curator at the upcoming Images Festival in Toronto. Sara Bulloch is an editor, filmmaker, and community organizer in Winnipeg, Canada. Many of her films explore mental health, relationships and identity. She also organizes her local OurToba Film Network. Mark Toscano is an archivist and filmmaker, though not necessarily in that order. George Kuchar was born in New York City in 1942 and is one of a twin (Mike Kuchar is the other half). At an early age the twins made pictures on paper and on 8-mm movie film, and later attended the High School of Industrial Art in N.Y.C. (which is now the High School of Art and Design). Employed in the world of commercial art in Manhattan, George Kuchar was later laid off from work and never went back to that snake-pit; instead, he embarked on his movie career full-time. Having been introduced to the avant-garde film scene in the early 1960s, he acquired an audience for his low-budget dramas and was hired by the San Francisco Art Institute to teach filmmaking. In 1985 he began making 8-mm video diaries and has completed about 50 works in that medium. The works are edited in-camera and there are no post-production embellishments to bloat the budget, so the low-budget tradition continues in full swing. Jenni Olson is a queer film historian, writer and filmmaker. Her work is held at the Harvard Film Archive (in Harvard’s Jenni Olson Queer Film Collection). Her reflection on the last 30 years of LGBT film history is featured in The Oxford Handbook of Queer Cinema. She was recently named to the Out Magazine Out 100 list, and was recognized with the prestigious Special TEDDY Award at the Berlin Film Festival. Jenni is a former co-director of Frameline (the San Francisco International LGBTQ Film Festival). She co-founded the pioneering LGBTQ online platform, PlanetOut.com as well as the legendary Queer Brunch at Sundance. She is also the proud proprietor of Butch.org. Jenni is now in development on her third feature-length essay film, The Quiet World and an essayistic memoir of the same name. Jodie Mack is an experimental animator. Her films unleash the kinetic energy of material remnants of domestic and institutional knowledge to illuminate the relationship between decoration and utility. Straddling the boundary between rigor and accessibility, her cinema questions how we ascribe value to things. Mack's 16mm films have screened at a variety of venues including the Locarno Film Festival, the Toronto International Film Festival, the New York Film Festival, the Jeonju International Film Festival, and the Viennale. She has presented solo programs at the 25FPS Festival, Anthology Film Archives, BFI London Film Festival, Harvard Film Archive, National Gallery of Art, REDCAT, International Film Festival Rotterdam, Shenzhen Independent Animation Biennale, and Wexner Center for the Arts among others. Matt Whitman is from Pennsylvania and lives/works in Brooklyn, NY. His film have recently screened at Ann Arbor Film Festival, CROSSROADS 2022, Chicago Underground Film Festival, ANALOGICA, the Athens International Film and Video Festival, Fracto Experimental Film Encounter in Berlin, and Light Work UVP at the Everson Museum of Art in Syracuse, New York. Briana Marela Lizárraga is a Peruvian American composer, vocalist, and performing artist. Her recent work centers the voice, embodied technology through gesture, and enhanced objects. Her gestural song performances draw from elements of both experimental electronic music and vocal driven pop music. Using the visual coding language MaxMSP and machine learning, she is able to make custom tools to use in combination with wearable wired and wireless technology. Her compositions carry varying fixed elements that transition into moments of improvisation. http://www.lightfieldfilm.org/2023-program-10 daily 0.75 2023-03-13 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2023 Program 10 Bill Brand is a multi-disciplinary artist whose films, public artwork, installations and works-on-paper have exhibited worldwide in museums, galleries microcinemas and on television. His 1980 Masstransiscope, an animated mural installed in the New York City subway, is in the MTA Arts and Design permanent collection. Bill Brand’s artwork has been featured at Museum of Modern Art, Whitney Museum, Smithsonian American Art Museum, National Gallery of Art, Anthology Film Archive and Shanghai Duolun Museum of Modern Art. He is represented by Galerie Arnaud Lefebvre, Paris. His films have been presented at major film festivals including the Berlin Film Festival, New Directors/ New Films Festival, Tribeca Film Festival and Rotterdam Film Festival. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581721744815-TQQLGICRYFJREB0FSFOK/acts%2Bof%2Blight%2Brate%2Bof%2Bchange.jpg 2023 Program 10 Part 1: Rate of Change 1972 | 18 minutes | USA | 16mm | color | silent Rate of Change has no original, no frames, only slow continuously shifting colors, cycling around the perimeter of the spectrum. The changes are so slow as to be unseen, yet they alter perception of the color. -BB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581721960688-C9I49TDU1HMGLYY28T1A/acts%2Bof%2Blight%2Bcircles%2Bof%2Bconfusion.jpg 2023 Program 10 Part 3: Circles of Confusion 1974 | 15 minutes | USA | 16mm | color | sound In this film, circles of colored light (red, green, blue) pulsate and flicker as they move around the frame. Where they intersect, they display a variety of secondary colors. The term, circles of confusion belongs to the physics of the lenses. Here it has to do with the focus of light. Here it refers to the focus of mental and emotional energies as an irrational system for composing a film. -BB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581721861159-H9PQZQSZ08W1WMYBMG2I/acts%2Bof%2Blight%2Bangular%2Bmomentum.jpg 2023 Program 10 Part 2: Angular Momentum 1973 | 20 minutes | USA | 16mm | color | sound Here, by contrast [to Rate of Change], the film is richly sensuous. Again nearly continuous color changes rotate around a spectrum, but this time at varying speeds of rotation and degrees of intensity. The colors on the left start nearly white and rotate very slowly. As the film progresses the color value become darker and the speed of rotation increases until, by the end, the color is nearly black and rotates around the spectrum about once per second. On the right, the opposite occurs. It starts black and progresses nearly to white. The varying rates of rotation determine the moment combination of colors. The film has an improvised electronic soundtrack by Richard Teitelbaum. -BB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581722041847-COCPS2EKTWK6FB05VIVL/Screen+Shot+2020-02-14+at+5.13.44+PM.png 2023 Program 10 Acts of Light Bill Brand Acts of Light is a trilogy consisting of Rate of Change, Angular Momentum, and Circles of Confusion. Together they develop a study of pure color based on the notion that film is essentially change and not motion. The films build one on the other as first pure change, then relational change, and finally, irrational change. They can be seen together or as separate works. -BB http://www.lightfieldfilm.org/2023-program-3 daily 0.75 2023-03-04 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/2a14652d-e71f-4199-8ee3-190956201276/trapline2.jpg 2023 Program 3 Trapline Ellie Epp 1976 | 18 minutes | Canada | 16mm | color | sound Oblique description of a space, texture and gesture in light and sound, interaction of the two modes, a play of expectations, a row of traps laid end to end catching very small events. -EE https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/4d0caa78-bd60-4989-b1d8-d883e50fddbf/image-asset.jpeg 2023 Program 3 Six Windows Marjorie Keller 1979 | 7 minutes | USA | 16mm | color | silent A pan and a dissolve make a window of a wall on film. A portrait of the filmmaker in a luminous space, synthetically rendered via positive and negative overlays. -MK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/6cf5a5eb-a60e-4589-a007-d0d7c1b75ead/Tsen-Chu+Hsu_Reflect+2.jpg 2023 Program 3 Reflect Tsen-Chu Bamboo Hsu 2010 | 3 minutes | Taiwan/USA | 16mm | color | silent This film is about the changes in time, light and reflection that I have observed in the place where I live. The intimacy comes not only from this personal space and the subtle things that happen in it, but also from my direct involvement making this piece in every aspect – shooting, hand-processing and editing. In the latter process, I seek to break down the original rhythms of individual shots and look for visual resonances among them – patterns, shapes, color tones – in order to discover and exploit hidden implications weaving into a fresh visual fabric. This is a hand-processed film. -TBH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/f8cf4bdc-e80f-45ca-a008-1f7c83a176ec/Screen+Shot+2023-02-28+at+6.19.33+PM.png 2023 Program 3 Plotting the Greyscale: 2 or 3 Quick Traverses Fred Worden 1985 | 7 minutes | USA | 16mm | b&w | silent "A monochromatic field study of sorts, along perpendicular axes. Varying shades of grey flicker in increasing intensity, giving way to a kinetic study of activated organic forms deriving from rapidly changing optically printed freeze frames of trees. A variation on the grey flicker recurs, climaxing in a modestly manipulated study of leaves moving in the wind. Overall, this unusual and visually affecting film brings together some of Worden's most elemental interests, including stasis, motion, rhythm, visual consonance and dissonance, and the tension between the pictorial and the abstract, all with a characteristic phenomenological undercurrent." -Mark Toscano https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2023 Program 3 HSU Tsen-chu is an experimental filmmaker from Taiwan. She is devoted to exploring the intersection of hand crafting and filmmaking. She also works as a film educator focusing on film arts and film preservation. Richard Tuohy began making works on Super 8 in the late 1980s. After a brief hiatus from cinema (including formal study in philosophy for seven years), he returned to filmmaking in 2004. In 2006 he, along with his partner Dianna Barrie, launched nanolab, a Super 8 film processing laboratory based at their home in Daylesford, Victoria in Australia. Since 2009 he has been an active and vocal member of the international artist run film lab scene. His films and film based performances have screened at venues including the Melbourne IFF, EMAF (Osnabruck), Rotterdam IFF, New York FF, Ann Arbor, Recontres Internationales (Louvre) and Media City Ellie Epp is a Peace River Country native: born in Sexsmith and raised on a farm outside La Glace. She studied psychology, philosophy and English at Queen's University, and film at the Slade School of University College London. Her films have become classics of Canadian experimental cinema. She has also worked in video, photography, experimental writing, garden design, digital graphics, and the web. The emergence of cognitive science in the late 1980s took her back to school, and she has a recent PhD in the philosophy of neuroscience. Her web book, Being about: perceiving, imagining, representing, thinking was written to work out a body-based philosophical platform for her own and others' work in art. She teaches embodiment studies at a small progressive college in the US and is experimenting with high definition digital video. In the late 1970s Epp returned to her home territory with a Canada Council grant for a project about place. She lived in an old farmhouse near Valhalla Centre for parts of several years. The art she made during that time has taken images of the Peace River Country to many parts of the world. A two-hour show of slides and writing called Notes in Origin has been performed in Melbourne, Toronto, San Francisco, Montreal, and at Canada House in London. A film also called Notes in Origin was screened as part of the celebrations for the opening of the new National Gallery of Art in Ottawa. It has toured in Japan and France and is studied in film courses in art colleges across Canada. Marjorie Keller was an influential filmmaker, author, activist, and scholar. After being expelled from Tufts for participating in a protest, Keller finished her coursework at Art Institute of Chicago, and received her Master’s and Doctorate in Cinema Studies at NYU. Keller was a professor of filmmaking and film history at the University of Rhode Island, Sarah Lawrence, and Massachusetts College of the Arts. She produced a substantial body of writings, as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Germaine Dulac, Maya Deren, and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. In addition to her achievements as an artist and critic, Keller played a crucial role in the Collective for Living Cinema, serving on its board of directors and editing the Collective’s publications Idiolects and Motion Picture. She engaged in the evolving debates around feminism, film, and the avant-garde that ran from the 70s through the 90s, vigorously defending a tradition of highly personal, formally rigorous work that some had rejected as irredeemably masculinist, while at the same time subjecting that tradition to a nuanced critique through her own scholarship and filmmaking. She transformed her subject matter—a birth, a wedding—from the stuff of home movies to an adventure in perception. Yet she forgoes the self-mythologizing of her predecessor, offering a more earthbound, though no less poetic, take on the subjective nature of memory. Her films are both at once lyrical and anti-romantic, rendering their subjects through radically nonlinear editing and complex experiments in sound-image correspondence. Though highly skeptical of the ways in which feminist film studies had, ironically, come to ignore some of the considerable accomplishments by women in the American avant-garde, Keller was nevertheless one of the key figures of her era to synthesize theory and practice at the most advanced level. Fred Worden has been making experimental film since the mid 1970's. His films have been shown in the 2002 Whitney Biennial, The Museum of Modern Art, The Centre Pompidou, The Pacific Film Archive, The New York Film Festival, The London Film Festival, The Rotterdam International Film Festival, The Toronto Film Festival, The Hong Kong International Film Festival and numerous other experimental film venues. Worden's films develop out of his interest in intermittent projection as the source of cinema's primordial powers. How a stream of still pictures passing through a projector at a speed meant to overwhelm the eyes might be harnessed to purposes other than representation or naturalism. Worden is a faculty member in the Department of Visual Arts at the University of Maryland, Baltimore County. Since 1968 Peter Rose has made over forty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose’s background in mathematics and on the influence of Structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent video installations have involved a return to an examination of Landscape, Time and Vision. Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts, and is fond of writing descriptions in the third person. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/b5959300-51dc-4776-a5a1-6ea8d6d69cbf/vlcsnap-2022-05-01-21h35m31s398.jpg 2023 Program 3 Intersection Richard Tuohy 2022 | 10 minutes | Australia | 16mm | color | sound A staccato study of street level action and inter-action. People and vehicles on everyday journeys are atomised into coursing fragments of light, shadow, angle and inertia, reiterating and disassembling the creation of motion out of still frames at the heart of cinema. Filmed in ten cities on four continents. -RT https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/528176ac-43a9-46b2-8f3b-052f56ace2d7/Analogies-03-1417x1024.jpg 2023 Program 3 Analogies: Studies in the Movement of Time Peter Rose 1977 | 14 minutes | USA | 16mm | color | sound The film uses a variety of multiple screen formats to create an intriguing series of visual riddles. Simple camera movements are rendered “diachronically” - several different aspects of the action are presented on the screen at once. By playing with time delays between these images, new kinds of space, action, gesture, and temporality have been found. Generated from structural principles, the film is both lyrical and sensual and provokes a new understanding of time and cinema. -PR http://www.lightfieldfilm.org/2023-program daily 0.75 2023-03-27 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/0f44746b-5aa4-4f4a-b8f1-0ebce5caf008/Only+If...2.jpg 2023 Program Program 7 Saturday, April 1, 2023 @ 9pm The Lab ▴ Jimmy Schaus ▴ Karen Holmes ▴ Rocio Mesa ▴ Elena Duque ▴ Mike Rollo ▴ Matthias Muller ▴ Kioto Aoki ▴ Abigail He ▴ Raymond Rea ▴ Mariangela Ciccarello and Philip Cartelli ▴ Zhuoyun (Yun) Chen ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/904dd9d4-c335-416d-b45d-cded708d5dbb/Owens_PRIVATE%2BIMAGININGS%2BAND%2BNARRATIVE%2BFACTS_still%2B04.jpg 2023 Program Program 4 Friday, March 31, 2023 @ 9pm The Lab ▴ Madison Brookshire ▴ Ezra Buchla ▴ Yasi Perera ▴ Mary Helena Clark ▴ Edward Owens ▴ Lyra Hill ▴ Lynn Marie Kirby ▴ Andrés Baron ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/45a1c97f-db07-4219-817b-f14976adc3c3/pai+lak+e+poo+still+2.jpg 2023 Program Program 5 Saturday, April 1, 2023 @ 5pm The Lab ▴ Erica Sheu ▴ Bruno Delgado Ramo ▴ Curt McDowell ▴ Britany Gunderson ▴ Charles Cadkin ▴ Deborah Stratman ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/3ad2c82b-8a42-4b0d-beb4-1bdba1304ae8/elixer4.jpg 2023 Program Program 1 - Amy Halpern: Unowned Luxuries Thursday, March 30, 2023 @ 7pm The Lab ▴ Amy Halpern ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/8976f7f6-4384-4e93-9bf3-86f0912e2fe9/1.jpg 2023 Program Program 8 Sunday, April 2, 2023 @ 5pm The Lab ▴ Margaux Dauby ▴ Miriam Campos-Quinn ▴ Kate Dollenmayer ▴ Laida Lertxundi ▴ Heather Trawick ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/3e9cb770-1326-4d26-9c4f-36ccbe84ab1b/brand_circ_big.jpg 2023 Program - Make it stand out Program 10 Sunday, April 2, 2023 @ 9pm The Lab ▴ Bill Brand ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/0cf47bf3-42b6-4c5f-940e-495cb2a0dabc/falling+lessons+2.jpg 2023 Program Program 2 - Amy Halpern: Falling Lessons Thursday, March 30, 2023 @ 9pm The Lab ▴ Amy Halpern ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/bae02b32-3e8f-4fca-af57-e906f97c2e7c/Tsen-Chu+Hsu_Reflect.jpg 2023 Program Program 3 Friday, March 31, 2023 @ 7pm The Lab ▴ Tsen-Chu Bamboo Hsu ▴ Richard Tuohy ▴ Ellie Epp ▴ Marjorie Keller ▴ Fred Worden ▴ Peter Rose ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/393a8fde-3ddb-42b7-8ae7-58063afa5e9c/86817015_2721598937935529_7667221715256082432_n.jpeg 2023 Program - Make it stand out Program 9 Sunday, April 2, 2023 @ 7pm The Lab ▴ Andrew Busti ▴ Kioto Aoki ▴ Federico Lanchares ▴ Marcelle Thirache ▴ Robert and Martha Orlowski ▴ Anja Dornieden, Juan David González Monroy, Andrew Kim ▴ Zack Parrinella ▴ Paul Sharits ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/a7482c76-3326-43e3-b733-9f00169db83a/THAT+WAS+WHEN+I+THOUGHT+I+COULD+HEAR+YOU+1.jpg 2023 Program Program 6 Saturday, April 1, 2023 @ 7pm The Lab ▴ Stephanie Barber ▴ Em Van Loan ▴ Nora Rosenthal ▴ Sara Bulloch ▴ Mark Toscano ▴ George Kuchar ▴ Jenni Olson ▴ Jodie Mack ▴ Matt Whitman ▴ Briana Marela Lizárraga ▴ http://www.lightfieldfilm.org/2023-program-2 daily 0.75 2023-03-04 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/8c937751-2f5c-4437-bff0-b27b856bd764/jane+looking.jpg 2023 Program 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/77c29082-c7f9-41bf-8016-d1b0a2dde621/fallinglessons2.jpg 2023 Program 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/0bfc3e05-f129-4239-b340-8f448f29f560/falling+lessons.jpg 2023 Program 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2023 Program 2 Ferociously curious, brilliant, and talented, Amy Halpern (1953-2022) grew up in New York studying dance, which provided her with a great appreciation and gift for movement. This would be central to her filmmaking, in terms of the cinematography and the actions captured, as well as in the strong metaphors she summoned about breaking bonds and evoking freedom, beauty, care, and wonder. Halpern formed close relationships with many in New York’s experimental film community, including Ken and Flo Jacobs, with whom she collaborated on the New York Apparition Company, devoted to 3D shadow play. Halpern made nearly 40 films and one feature, almost all on 16mm. During the 40 years she spent in Los Angeles, she collaborated with such luminaries as Pat O’Neill, Charles Burnett, and her husband David Lebrun. Halpern grew close with the legendary filmmaker Chick Strand and appears in her film Soft Fiction among other influential and formative west coast experimental films. She and her films inspired countless artists, including those she taught at various institutions around L.A., most notably at the University of Southern California. Halpern brought people together for a common good, cofounding two screening cooperatives: The New York Collective for Living Cinema (1972–82) and the Los Angeles Independent Film Oasis (1975–80). https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/12d99c9e-4d56-4020-a274-34e9616b683f/amy_portrait.png 2023 Program 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/8c59e47e-7bca-40b7-a2e7-2ee3a715fdd9/Screen+Shot+2023-02-28+at+6.19.33+PM.png 2023 Program 2 Films include: Hula 2022 | 6 minutes | 16mm | color | sound Emit a Beam, See a Light 2022 | 3.5 minutes | 16mm | color | sound Jane, Looking 2020 | 2 minutes | 16mm | color | silent Ma Sewing (2021) 2021 | 1.5 minutes | 16mm | color | silent Falling Lessons 1992 | 64 minutes | 16mm | color | sound https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/072aef92-094b-46e6-8a27-ec7f93430d1d/fallinglessons4.jpg 2023 Program 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. http://www.lightfieldfilm.org/2023-program-1 daily 0.75 2023-03-04 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/83d4605d-8893-492e-a858-3de5b5c4116a/elixer2.png 2023 Program 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/79848c65-0896-4f0c-b7ca-926c8231376f/three+minute+3.jpg 2023 Program 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1652aa59-8154-432d-b378-9baa4e42e84a/pouringgrain1.jpg 2023 Program 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/3b04f8cf-8ca4-40d4-a40c-6a53a86a16c8/cheshire1.jpg 2023 Program 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1d105d3b-637c-45ff-a7d5-5ae484d6ab60/three+minute+hells.jpg 2023 Program 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/92f994d7-8312-473a-91f0-8ee2ac448a99/filament.jpg 2023 Program 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/db7b2b9f-ce9d-48fc-b386-46daac45a739/amy_portrait.jpeg 2023 Program 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/8c59e47e-7bca-40b7-a2e7-2ee3a715fdd9/Screen+Shot+2023-02-28+at+6.19.33+PM.png 2023 Program 1 Films include: Access to the View 2000 | 2 minutes | 16mm | color | sound Filament (The Hands) 1975 | 6 minutes | 16mm | b&w | silent Slow Fireworks 2019 | 2 minutes | 16mm | color | silent Pythoness 1979 | 2 minutes | 16mm | b&w | silent My Dear Evaporant, 2022 | 6 minutes | 16mm | color | silent Pouring Grain 2008 | 3 minutes | 16mm | color | silent Cheshire Smile 2012 | 5 minutes | 16mm | color | sound My Mink (Unowned Luxuries #2) 2019 | 4 minutes | 16mm | color | silent Unowned Luxuries #3 2020 | 2 minutes | 16mm | color | silent # 27 2019 | 3 minutes | 16mm | color | silent 4 Fingers, 5 Toes 2022 | 11 minutes | 16mm | color | silent Three-Minute Hells 2010 | 14 minutes | 16mm | color | sound Elixir 2009 | 7 minutes | 16mm | color | silent Chabrot 2022 | 4 minutes | 16mm | b&w | sound https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/67e4c253-0840-4060-9739-0978dd94d3a4/cheshire2.jpg 2023 Program 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/ea4f27bd-dfbd-4659-8f05-e52b1859a22f/elixer3.jpg 2023 Program 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2023 Program 1 Ferociously curious, brilliant, and talented, Amy Halpern (1953-2022) grew up in New York studying dance, which provided her with a great appreciation and gift for movement. This would be central to her filmmaking, in terms of the cinematography and the actions captured, as well as in the strong metaphors she summoned about breaking bonds and evoking freedom, beauty, care, and wonder. Halpern formed close relationships with many in New York’s experimental film community, including Ken and Flo Jacobs, with whom she collaborated on the New York Apparition Company, devoted to 3D shadow play. Halpern made nearly 40 films and one feature, almost all on 16mm. During the 40 years she spent in Los Angeles, she collaborated with such luminaries as Pat O’Neill, Charles Burnett, and her husband David Lebrun. Halpern grew close with the legendary filmmaker Chick Strand and appears in her film Soft Fiction among other influential and formative west coast experimental films. She and her films inspired countless artists, including those she taught at various institutions around L.A., most notably at the University of Southern California. Halpern brought people together for a common good, cofounding two screening cooperatives: The New York Collective for Living Cinema (1972–82) and the Los Angeles Independent Film Oasis (1975–80). http://www.lightfieldfilm.org/2023-program-8 daily 0.75 2023-04-02 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/b4698db3-722f-4b5f-b0b4-e0e9205535b0/Still13ROtt.jpeg 2023 Program 8 Centre of the Cyclone Heather Trawick 2015 | 18 minutes | Canada/USA | 16mm | color | sound In the province of the mind there are no limits. However, in the province of the body there are definite limits not to be transcended’ (John C. Lilly). An invocation for the transcendence from the corporeal to the metaphysical, the passage is guided by marooned sailors, a moment of celestial chance, demolition derbies, and a slipping into the ether. -HT https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/b6e9423d-d775-4821-94c9-a5cde8560110/lf_butter_2.jpg 2023 Program 8 witch's butter Miriam Campos-Quinn 2022 | 3 minutes | USA | 16mm | color | sound To approach, to commune with growing things that do not need us. Touching and never reaching, cutting, decomposing, rearranging, letting go. -MCQ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/e2a8d77a-7c3a-472b-86a6-65c16c2a63b4/Cycladic+Thermometer+Still+3.jpg 2023 Program 8 Cycladic Thermometer Kate Dollenmayer 2015-2017 | 7.5 minutes | Greece/USA | 16mm | color | sound A found text from a darkroom thermometer package provides instructions for healing the wounds of this world, with help from a foosball player posing as a Cycladic figure. Spanning time and space from Bronze-Age Ano Syros to present-day Los Angeles, “…everything that we see in life is something of a shadow cast by that which we do not see. Plato was right.” - Dr. Martin Luther King Jr. -KD https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2023 Program 8 Margaux Dauby (1989) lives between Belgium and Portugal, where she makes films, among other activities. Miriam Campos-Quinn is an audiovisual archivist and librarian and artist living in Oakland, California. Kate Dollenmayer works as a film and media archivist and is in the process of relocating to the Bay Area from Los Angeles County. Laida Lertxundi is an artist and filmmaker who lives and works between the USA and the Basque Country. Combining conceptual rigor with sensual pleasure in a process she calls Landscape Plus, her films establish parallels between landscape and the body as centers of pleasure and experience. Her work has been exhibited at the Highline Art, New York (2023 forthcoming), Whitney Biennial New York (2012), Hammer Museum Los Angeles (2026), LIAF Biennial (2013), Biennale de Lyon (2013), Frieze Projects New York (2014) and in museums and galleries such as MoMA in New York (2022, 2017), Tate Modern, London (2016), Whitechapel Gallery, London, Angela Mewes, Berlin (2020), Joan, Los Angeles, Cibrían, San Sebastián (2021), ARKO Art Center, Seoul (2022), McEvoy Arts Foundation, San Francisco (2021), Human Resources Los Angeles (2019), MAK Schindler House (2013), ICA, London (2013), Museo de Arte Moderno de Medellín, Colombia (2015), CCCB (2017, 2013, 2021, 20122), PS1 MoMA (2013), Museum of Contemporary Photography Chicago (2013), Baltimore Museum of Art (2013), Kunstverein Hamburg (2014) and the Havana Biennial (2015) among others. Heather Trawick is an artist based on unceded Gabrielino-Tongva, Chumash, and Kizh lands (known as Los Angeles). She received her BFA from Concordia University, Montreal, and her MFA from CalArts. She has screened at venues such as The National Gallery of Art, Oberhausen Film Festival, The New York Film Festival, Images Festival, BAFICI, Crossroads, Lima Independente, Chicago, Brooklyn, and New York Underground Film Festivals. Her grants include Canada Council for the Arts, Vancouver Film Commission and the Academy of Motion Picture Arts and Sciences. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/cf3eaca5-dca2-49e9-8066-9b8d2362a314/cry_2.jpg 2023 Program 8 Cry When It Happens Laida Lertxundi 2010 | 14 minutes | Spain/USA | 16mm | color | sound Los Angeles City Hall is reflected onto the window of the Paradise Motel. It serves as an anchor for this traversal through the natural expanse of California. Here, we discover a restrained psychodrama of play, loss, and the transformation of everyday habitats. Music appears across the interiors and exteriors and speaks of limitlessness and longing. -LL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/b2ccc05d-d7c1-456e-95de-de83af28dae5/161122_CINZASENUVENS_PRORES4444_REC709_20.00_06_22_10.Still016.jpg 2023 Program 8 Extended Presences Margaux Dauby 2022 | 12.5 minutes | Belgium/Portugal | 16mm | color | sound Extended Presences' follows several women in their seasonal work as fire watchers in Portugal. The film comes close to their breathing, to the passing of time and to solitude, from within. -MD http://www.lightfieldfilm.org/2023-program-7 daily 0.75 2023-03-07 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/bc48ce58-d59d-41d6-b50a-4412c63206d4/saving+the+proof+3.jpg 2023 Program 7 Saving the Proof Karen Holmes 1979 | 11 minutes | USA | 16mm | color | sound "SAVING THE PROOF is a complex transformation of an ordinary action: a woman walking. The rhythm of her gait and the pulsating, repetitive sounds counterpoint with alternating images of her transversing city streets, passing windows and fences, descending stairs. As the images repeat and vary with mathematical precision, one becomes more interested in the process itself than in her destination. What appears to have been simple breaks down into a complex system of dichotomies, both in form and in content: city/country, completeness/fragmentation, presence/absence, illusion/reality, light/shadow, negative/positive, fiction/documentation. The film climaxes in a spectacular burst, as one feels that the film is literally coming apart. It ends as it began, as one long chain that can be interrupted at any point, and yet can only be seen as a whole piece." - Margaret Ganahl, Camera Obscura https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/7c9d0aba-0784-4b4b-93fe-8856195e1b68/Muller_PensaoGlobo.jpg 2023 Program 7 Pensão Globo Matthias Müller 1997 | 15 minutes | Germany/Portugal | 16mm | color | sound The film presents one visually dominant theme, the constant superimpositions, or double exposure effect, of what is being shown. The man seems to be accompanying himself as a ghost, the world escapes him continually, things are no longer fixed in their proper places; nothing remains still. The shots of the man in the hotel are taken from two slightly different positions but from the same distance, the lighting is intensified and is slightly distorted in time and space. (...) There have been too many attempts to transform poetry into film in the history of cinema. PENSAO GLOBO, however, represents something else. Müller does not limit himself to an attempt to translate an existing verbal structure into images. His success lies in being able to repeat in cinema the same structural act that is the basis of poetry. - Peter Tscherkassky https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/ae8a7f1b-cc11-43bb-94f2-ab07cc9cca5e/for+nellie.jpg 2023 Program 7 - Make it stand out For Nelie and Maria Raymond Rea 1993 | 6 minutes | USA | 16mm | b&w | sound For Nelie and Maria is a contact improvisation dance film with original choreography by Wes Staats and an original music score by George Todd. Three women start by playing paper/rocks/scissors and the game expands into an examination of the ability of siblings to use each other in movement and sound. -RR https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/deb902b2-c28e-40c7-8032-60786b12d48c/Only+If...1.jpg 2023 Program 7 - Make it stand out Only If You Could See a View Above the Clouds Zhuoyun (Yun) Chen 2022 | 4 minutes | USA | 16mm | b&w | sound A ghost, a face, lucid minerals, vague landscapes... What do you see when my words fall? To experience delayed emotions is like trying to decipher a riddle caught up in time lags. I wanted to tell that riddle visually. -ZYC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1850e4d9-8ffe-4691-b38a-6302213e9a03/France_3.jpg 2023 Program 7 - Make it stand out France Mariangela Ciccarello and Philip Cartelli 2022 | 6 minutes | Greece/Italy/USA | 16mm | color | sound | North American premiere The formal simplicity of the “hexagon” (which refers to the idealized shape of metropolitan France) is countered in the film by convoluted drawings and twisted branches of a coastal environment, evoking French colonial domination and the illusion of national unity and harmony. -MC & PC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/12986e68-e3ca-42b5-8957-8ff791f888f6/Tobacco+Barns+3.jpg 2023 Program 7 Tobacco Barns Light Studies Rocio Mesa 2021 | 2 minutes | Spain | 16mm | b&w | silent The tobacco plant was introduced to Granada (Southern Spain) in 1923. It became a monoculture in the region until the end of the century. When tobacco production stopped being profitable, the farmers switched to new crops like wheat, corn, or asparagus. However, the lands of Granada are still replete with tobacco barns: large empty houses where the leaves used to be hung to dry. They inhabit the landscape like architectural ghosts. -RM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/630b7829-5338-47f0-a4a8-70f772a2d1a1/Mar+de+Coral_5.jpg 2023 Program 7 MAR DE CORAL Elena Duque 2022 | 11 minutes | Spain | super 8 | color | silent | North American premiere A leftovers film. Croquette of own and other's super 8 collected over the years and ordered according to color tones and autobiographical adventures. The result of cutting and splicing pieces of film as a soothing action. -ED https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/e1b45128-378f-40f8-b1b7-b9b4058ff7d9/He_Abigail_HeNeedsDarktoSee1.jpg 2023 Program 7 - Make it stand out He Needs Dark to See Abigail He 2021 | 2 minutes | USA | 16mm | color | silent Light bored into his eyes but where did it go? Into a sea of phosphenes, along the wet fuse of some dead nerve, it hid everywhere and couldn't be found. I've used up three guesses, all of them right. It's like scuba diving, going down into the black cone-tip that dives farther than I can, though I dive closer all the time. - "Eyes" by William Matthews https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/a142cf10-2b38-4086-b912-d6dc41587e4c/fuego+rapido+1.jpg 2023 Program 7 Fuego Rápido Jimmy Schaus 2021 | 3 minutes | Spain | Super 8 | color | silent | North American premiere Bonfires, police lights and an enormous moon illuminate the youthful antics of Noche de San Juan in Madrid, closing the year’s longest day. -JS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/8fa48fbb-7813-4bd5-9813-228e1181b4bb/Eidolon_3.jpg 2023 Program 7 Eidolon Mike Rollo 2020 | 4 minutes | Canada | 16mm | b&w | sound The seer passes beneath branches, crosses fields, observes the quiet corners of creation. Bright and dark take turns showing their faces, a two-sided phantasm, one energy shape-shifting through time. The seer makes note, gleans eidolons. -MR https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2023 Program 7 Jimmy Schaus is an artist whose work spans experimental and narrative cinema, video art, sound and music. Karen Holmes’ experimental films have been exhibited all over the US and Europe. Rocio Mesa is a Spanish filmmaker based in California. She combines directing with production and programming. Her latest feature film as a writer/director, Secaderos (2022), World Premiered at the San Sebastian Film Festival and Internationally premiered at SXSW. She has produced titles such as MBAH JHIWO (2021) by Álvaro Gurrea, premiered at Berlinale 2021. She is the director of “LA OLA - Independent Films from Spain”, an organization that showcases and promotes avant-garde Spanish cinema in North America. Mesa has worked as a programmer for festivals such as the LA Film Festival and international events like Art House Theater Day in the USA. The Spanish-Venezuelan Elena Duque is a filmmaker, curator, writer and programmer currently living in Madrid. She works for (S8) Mostra de Cinema Periférico in A Coruña, for Seville Film Festival and for the University Camilo José Cela, besides writing for various publications and books, teaching workshops, making commissioned pieces and working in her own artistic projects. Mike Rollo's photochemical practice explores alternative approaches to non-fiction cinema. Mike's films are place-based, focusing on landscape, rural industry, and communication cultures, with ecological thinking and mindfulness of the shifts, conflicts, and negotiations to themes of obsolescence, age, and decay. Mike teaches film production at the University of Regina. Matthias Müller (1961, Germany) is an experimental filmmaker. He studied at the University of Bielefeld and the Braunschweig School of Art. Müller lives in Bielefeld and Cologne and has been working in film, video and photography since 1980, often in collaboration with Christoph Girardet. Müller has been featured in several group and solo exhibitions at institutions such as Tate Modern, Hayward Gallery, Migros Museum für Gegenwartskunst, Palais de Tokyo, Centre Pompidou, Hangar Bicocca and Museo Tamayo. Kioto Aoki is an artist, educator and musician whose studio practice navigates various mechanisms and propositions of spatial and visual acuity. Grounded in the analogue image and image-making process and through tangential vernaculars of conceptual photography and experimental cinema, she forms a rhetoric of nuanced quietude responding to and formed by observations and experiences of the everyday. Often in her work, the body activates, holds, and navigates the propositions of sight and relativity, through notions of structural tangibility and material or site-specificity. Kioto has performed and exhibited at Museum of Contemporary Art Chicago, Asian Art Museum (San Francisco), the Chicago Cultural Center, Gallery Kobo Chika (Tokyo) The Lab (San Francisco) and the Barbican Centre (London) among others. She received her MFA at The School of the Art Institute of Chicago. Abigail He is a Brooklyn-based filmmaker and multimedia artist. Her recent work explores the interchangeable relationships between presence/absence, visibility/invisibility in both the material form and the conceptual representation through various media including film, video, sound, photography, performance, and sculpture. Using mainly recycled footage and color leader, she is interested in revealing the intrinsic physicality of film as a medium and a material. Raymond Rea is a filmmaker and writer. He worked for over a decade as with San Francisco’s Theatre Rhubarb, a company dedicated to staging rarely seen and risk-taking theatre works. His own production company, Density Over Duration, has produced 8 stage works, 8 short films and an experimental narrative feature. His film and video work has screened nationally and internationally. Mariangela Ciccarello and Philip Cartelli have worked together and separately since 2014, including on a trilogy of films about Mediterranean geographies and imaginaries under the collective name Nusquam (Latin for “no-place”). Their work has been exhibited at Locarno, Edinburgh, Ji.hlava, Torino, Syros, Microscope Gallery (New York), Halle Nord (Geneva), Mostra Internazionale del Nuovo Cinema, Alchemy Film & Moving Image Festival, and others. Zhuoyun (Yun) Chen works with multiple mediums. Her most recent work experiments with figures, landscapes, and artificial objects as means of exploring the multiple nuanced facets in intimate relationships. Yun now lives and works in Los Angeles. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/ffa00af6-2eee-4402-9f2e-332e95498f15/DoubleRunEight_3.jpg 2023 Program 7 - Make it stand out Double Run Eight Kioto Aoki 2022 | 2 minutes | USA | 16mm | b&w | silent Double Run Eight uses the mechanisms of a double eight camera to play with visual collisions and inversions of the resulting four frames, rearranging the image plane with forwards, backwards, and radial motion as the artist’s body activates, holds, and navigates propositions of the analogue image. The film was made with a Bell & Howell Filmo series 8mm camera from the Rod Slemmons Camera Collection currently housed at the Epiphany Center for the Arts in Chicago, as part of The Chicago Cluster Project. -KA http://www.lightfieldfilm.org/2023-program-4 daily 0.75 2023-03-22 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/d0382cc4-fbf2-4e7b-95d1-781291c8f6ca/sharon+and+the+birds2.jpg 2023 Program 4 Sharon and the Birds on the Way to the Wedding Lynn Marie Kirby 1987 | 20 minutes | 16mm | color/b&w | sound This is a film about the language and perception of love and romance. The film blurs the line between fact and fiction, personal and cultural experience. "She found that the truth didn't sound real. She did research. She went through the magazines. She found that there existed a magazine kind of love that had a vocabulary of about twelve words. She found that if she rearranged these twelve words around different names and places that she could make a story." -LMK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/56571056-5cae-497f-bc21-37c0cff7dca2/FLpWQQFXMAE_D9Q.jpg 2023 Program 4 Private Imaginings and Narrative Facts Edward Owens 1966 | 6 minutes | 16mm | color | silent “Originally titled Mildered Owens: Toward Fiction, the achingly silent Private Imaginings and Narrative Facts focuses more directly on [the filmmaker’s] mother, setting her regal depiction amidst delicate pulses of editing and oblique superimpositions, evoking the gap between the homebound realities of life and desires for far-off luxury and refinement” -Ed Halter https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/3cd068a2-aa87-4f44-9340-4a912cd9058e/printed_sunset1.jpg 2023 Program 4 Printed Sunset Andrés Baron 2017 | 6 minutes | 16mm | color | sound The aesthetic tension between the simulated visual representation of the phases of a sunset, reproduced onto large-scale boards, is juxtaposed with the easy intimacy of the two female subjects who hold our gaze. -AB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1568e54c-c345-40b7-b6e3-813d71e8a476/Two+Suns.jpg 2023 Program 4 Two Suns Madison Brookshire 2013/2019 | 4 minutes | USA | 16mm | color | live musical performance A 16mm film that is a musical score: two small spots of sunlight slowly move over five hand-drawn lines, creating a subtly shifting piece of music for live musicians to perform. -MB Live performance by Ezra Buchla & Yasi Perera https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/c35bae1d-d042-49c0-bc1d-cf56e19b6734/house_fuck3.jpg 2023 Program 4 House Fuck Lyra Hill 2010 | 6 minutes | 16mm | color | sound House Fuck is a lust letter to the textures of antiquity, the sensation of home, and the sounds of my radiator. House Fuck is about touching surfaces. House Fuck is an erotic encounter with personal space. -LH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/480cdac1-d0d4-4fd8-abe5-306bbac86254/Dragon_yellowhills.jpg 2023 Program 4 The Dragon is the Frame Mary Helena Clark 2014 | 14 minutes | 16mm | color/b&w | sound An experimental detective film made in remembrance: keeping a diary, footnotes of film history, and the puzzle of depression. -MHC What are you thinking? I am thinking of how many times this poem Will be repeated. How many summers Will torture California Until the damned maps burn Until the mad cartographer Falls to the ground and possesses The sweet thick earth from which he has been hiding. What are you thinking now? - Jack Spicer, Psychoanalysis: An Elegy https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2023 Program 4 Madison Brookshire lives in Los Angeles, where he makes films, paintings, and performances. His work invites viewers to become aware of perceptual processes and the sensuous experience of time. He frequently collaborates with musicians and composers, including Ezra Buchla, LCollective, Mark So, Laura Steenberge, and Tashi Wada. Ezra Buchla is a person from California, who performs live music primarily using voice, viola and realtime electronic processing. Yasi Perera, raised in California, plays percussion and electronics. Mary Helena Clark is an artist working in film, video, and installation. Her work uses the language of collage to explore dissociative states through cinema, bringing together disparate subjects and styles that suggest an exterior logic or code. Using the conventions of narrative, language, and genre, her films explore shifting subjectivities and the limits of the embodied camera. She has been showing films and works in museums, art venues and festivals including IFFR, Rotterdam; New York Film Festival; Toronto International Film Festival; Cinéma du réel, Paris; and the 2017 Whitney Biennial, New York. Edward Owens (US, 1949-2009) was a queer African American artist who was working in painting, sculpture, and 8mm film at the Art Institute of Chicago in the 1960s. Encouraged by his teacher, the filmmaker Gregory Markopoulos, Owens moved to New York where he came in touch with the major artistic personalities of that time such as Andy Warhol, Gerard Malanga, Marie Menken, Gregory Battcock and Charles Boultenhouse. Over the next four years, Owens created a strikingly beautiful series of films. Depicting heartbreak, queer desire, and his own family, they displayed an increasing mastery of form, inspired by Markopoulos’s style but transformed into something purely his own. Moving between narratives of geographic and domestic landscapes, Lynn Marie Kirby explores traces of a human presence through the residue of light, history, and listening. With a background in cinema and conceptual performance, she works with shifting recording technologies, creating film/video hybrids, drawings, and installations that become records of certain times and places. Using methods such as site interruption, writing, and collaboration, her projects manifest at the intersection of events and archives, looking at the links between public and private, biographical and system ecologies. Kirby’s work has been widely exhibited in galleries and museums, including the Whitney Museum of American Art; the Museum of Modern Art, New York; Olympic Museum, Sarajevo; the Pompidou Centre in Paris; Arsenal in Berlin; Manage in St. Petersburg; Portland Museum of Art; the Kennedy Center and the Corcoran Gallery in Washington DC; LACE and MOCA in Los Angeles, the Pacific Film Archive in Berkeley; the Oakland Museum of California in Oakland; the San Francisco Cinematheque, Yerba Buena Center for the Arts, the de Young Museum, the Museum of Modern Art and Triple Base Gallery in San Francisco. Her films and videos have shown at film festivals around the world, including Oberhausen, Toronto, London, San Francisco, and Athens. She is the recipient of grants and fellowships from the Guggenheim Foundation, Djerassi Foundation, Center for Cultural Innovation, the National Endowment for the Arts, Film Arts Foundation, Jerome Foundation, Kelsey Street Press, and the San Francisco Arts Commission. Kirby is a Professor of Fine Arts and Film at California College of the Arts. Andrés Baron, born in Bogotá, Colombia, lives and works in Paris. Through a practice of 16mm film, video and photography, his approach establishes a relationship with the image transformed by screens and networks, playing simultaneously on the frontality and the spaces of representation. He received his MFA from l’École nationale supérieure des Arts Décoratifs in Paris. His work has been presented at the Edinburgh International Film Festival, the Moscow International Biennale for Young Art, the EMAF in Osnabrück, Aesthetica Short Film Festival among others. http://www.lightfieldfilm.org/2023-program-5 daily 0.75 2025-03-17 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/825f5519-8e38-4af2-9fb6-a65fab5b2ba1/Pump+Still+1.jpg 2023 Program 5 - Make it stand out Pump Charles Cadkin 2022 | 5 minutes | USA | 16mm | color | sound On the outskirts of Chicago, community members gather to collect water at a well known water pump. -CC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/414ef394-dd75-4c16-ad6a-c7460ba182c4/Stratman_On+The+Various+Nature+Of+Things_1.jpg 2023 Program 5 - Make it stand out On the Various Nature of Things Deborah Stratman 1995 | 25 minutes | USA | 16mm | color | sound A 24-figure exploration of the natural forces at work in the world, based on Scottish physicist Michael Faraday's 1859 Christmas lectures to the public. The film literally, metaphorically and whimsically reinterprets scientific convention to illustrate physical concepts. Faraday felt people needed to be more aware of the everyday reality of physics and how its laws affected their simplest actions. So in the late 1850s, he addressed the English public on the subject. He arranged for a series of lectures to be held, as a tradition, on Christmas day. As Faraday put it, "We come into this world, we live, and depart from it, without our thoughts being called specifically to consider how all this takes place." The filmmaker takes up his challenge and considers the world around her with an infectiously playful, yet sometimes dark, curiosity. The film is an homage to Faraday's enthusiasm and his tactile approach to science. He was also a filmic forefather, having invented and experimented with one of the first kinematascopic devices. The film challenges the viewer to see beauty in the small details which surround us but go unnoticed or are taken for granted. "I say apparently," says the physicist, "for you must not imagine that, because you cannot perceive any action, none has taken place". -DB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2023 Program 5 Erica Sheu/徐璐 makes short films, expanded cinema, and installation with celluloid film. Her work is often about diary filmmaking, cross-generational memories, history and language, collective singularity, and/or Taiwanese identity politics. Sheu holds an MFA in Film/Video at CalArts and is currently based in Los Angeles. Bruno Delgado Ramo (Sevilla, 1991) is a filmmaker, artist-researcher and architect who explores site-specific features and incorporates them into his works on film and his screening arrangements. He devises his work as research grounded in material and spatial practice of cinema means, leading to films, spatial and live proposals and text matter. He often takes care of the projection himself. His work has been showcased at international festivals and different cultural and art programmes as Rose Bruford College or INJUVE; presented with the work of Esperanza Collado at Image Forum or Taipei Contemporary Art Center. In 2021 he and Paula Guerrero conceived the group Las Synergys, investigating the live experiences of film projection and Dj mixing. Both have also been running the initiative “kino~okno”, comprising films, screening programmes, exhibition, installation and live formats, focused on the mechanical, photochemical and optical genuine root of cinema. A filmmaker, actor, visual artist, and writer, Curt McDowell arrived in San Francisco in the mid-1960s to attend the San Francisco Art Institute in the painting department and quickly changed course to become a filmmaker to work with George Kuchar, within a period that witnessed the Summer of Love, gay liberation, and the onset of AIDS, to which he succumbed at the age of 42. He directed over 30 films, celebrating sex as well as genre riffing and autobiographical narratives that bear the influences of Jack Smith’s lush, DIY camp aesthetic, Rainer Werner Fassbinder’s explosive melodrama, and Nan Goldin’s glimpses of countercultural bohemia “Curt, cute, controversial, and not celibate.” - George Kuchar Britany Gunderson is a filmmaker and artist living in Milwaukee, WI. Her practice is often interdisciplinary, creating film and video work that uses material forms such as textiles, found objects, and celluloid. Her films are rooted in non-fiction and often explore themes of personal histories, love, and a longing for the truth. Gunderson received a BFA in Film at the University of Wisconsin-Milwaukee. Charles Cadkin is a visual artist concerned with documenting and preserving neglected personal and local histories through topography, landscape and body. His work has screened internationally, including at the Museum of Modern Art, Other Cinema, Moviate Underground Film Festival and ULTRAcinema. He has received funding and support from the National Film Preservation Foundation, Interbay Cinema Society and the Chicago Department of Cultural Affairs and Special Events, among other institutions. He holds a BS in Cinema and Photography from Ithaca College and resides in Chicago, IL. Artist and filmmaker Deborah Stratman makes films and artworks that investigate power, control and belief, considering how places, ideas, and society are intertwined. Recent projects have addressed freedom, surveillance, sinkholes, comets, raptors, orthoptera, levitation, exodus, sisterhood and faith. She has exhibited internationally at venues including MoMA (NY), Centre Pompidou (Paris), Hammer Museum (LA), Witte de With (Rotterdam), PS1 (NY), Tabakalera (San Sebastian), Austrian Film Museum (Vienna), the Whitney Biennial and festivals including Sundance, Viennale, Berlinale, CPH/DOX, Oberhausen, True/False, TIFF and Rotterdam. Stratman is the recipient of Fulbright, Guggenheim and USA Collins Fellowships, an Alpert Award, Sundance Art of Nonfiction Award and grants from Creative Capital, Graham Foundation, and Wexner Center for the Arts. She lives in Chicago where teaches at the University of Illinois. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/59e41290-d03e-4a06-951a-027ca5193b93/Unabridged+Maneuver+Still+3.jpg 2023 Program 5 - Make it stand out Unabridged Maneuver Bruno Delgado Ramo 2022 | 18 minutes | Canada/Spain | 16mm | color | silent Conceived as an investigation about the harbors’ piloting areas and the frame maneuvering with the Bolex, the film shifts between the studio’s editing table at LIFT facilities (Liaison of Independent Filmmakers of Toronto) and various locations on the western shore of Lake Ontario. The word manoeuvre refers both to the material operations carried out with one’s hands and to the procedures on board when approaching a harbor. The film explores the idea of precision in both practices. -BDR https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/09cef3e0-4e15-4424-bd5d-9e8da7a5de9b/Natural+Order+Still+1.jpg 2023 Program 5 - Make it stand out Natural Order Britany Gunderson 2020 | 5 minutes | USA | 16mm | color | sound Trying to deconstruct the natural world into something more ordered, cycles of chaos are created instead. -BG https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/64441020-9bef-4352-870e-eefa7fe26965/pai+lak+e+poo+still+3.jpg 2023 Program 5 pài-la̍k ē-poo (saturday afternoon) Erica Sheu 2020 | 2 minutes | USA/Taiwan | 16mm | color | sound A half-moon on the blue sky. A quiet offering connects the unreachable world with the physical earth. A Japanese childhood song comes in the wind. In Taiwanese, we promised Grandma that the next time we visit is Saturday afternoon. pài-la̍k ē-poo means Saturday afternoon in Taiwanese Holouē. -ES https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/6cf97768-0521-40c1-9cf5-39bb430c0202/Screen%2BShot%2B2023-03-01%2Bat%2B5.45.32%2BPM.jpg 2023 Program 5 - Make it stand out Edwina Marlow Curt McDowell 1974 | 12 minutes | USA | 16mm | b&w | sound "Executed by students at the Academy of Art in San Francisco, under the careful supervision of Curt McDowell. Guest appearance by Ainslie Pryor." Restored by the Academy Film Archive http://www.lightfieldfilm.org/2023-program-9 daily 0.75 2023-03-21 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/a90dc5f6-495c-4be8-881c-ef9938e57a5b/Sequence+01.Still011.jpg 2023 Program 9 water, clock Zack Parrinella 2021 | 8 minutes | USA | 16mm | b&w | sound water, clock is an interpretation of the velocity of our modern world. Through layering of images, sounds and text, the film explores how rapidly human society has been moving for the last century plus. Industry, building, and "progress" of humankind onto newer and newer frontiers of innovation never cease. At least, if anything we can seek some beauty within the absurdity of all the perpetual movement constantly surrounding us. -ZP https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/4c0d2f18-2126-43a7-b1c0-17420bfeb49c/instant+life_1.jpeg 2023 Program 9 Instant Life Anja Dornieden, Juan David González Monroy, Andrew Kim 2022 | 27 minutes | Germany/USA | 16mm | color | sound The three films you will see are shot-for-shot reproductions of the compilation film Instant Life (1981). Each film in Instant Life (1981) was a remake of an earlier film also called Instant Life (1941). The earlier Instant Life (1941) was a single film, not a compilation. In 2017, we decided to recreate Instant Life (1981). We did not attempt to recreate Instant Life (1941) because that Instant Life is lost. -AD, JDG, AK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/dd5849dc-17f4-4f3e-8c27-76ecd28ccfbc/ForBuckyFuller.png 2023 Program 9 - Make it stand out For Bucky Fuller Kioto Aoki 2019 | 3 minutes | USA | 16mm | b&w | silent An homage to Buckminster Fuller and his belief that one could feel the earth's rotation while standing with feet apart facing the North Star. A collaboration with Maggie Wong. -KA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/3f4f5040-9f42-45a9-9f0a-d55303dfe49b/NA_still_1.png 2023 Program 9 N/A (Not Available) Robert and Martha Orlowski 2022 | 5 minutes | USA | 16mm | color | sound The innocence of a home movie is called into question when consent is unexpectedly denied by the filmmaker’s grandmother. In an effort to challenge our obsession with the body and the notion of the director, N/A (Not Available) asks: if consent is to be respected, how do we as both filmmakers and family members navigate and cope with the desire to capture imagery of those closest to us? -RO & MO https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581725332984-13J9UQA7FKM0BPF58CQO/11239_Paul_Sharits_2_300.jpg 2023 Program 9 - Make it stand out Tirgu Jiu Paul Sharits 1977 | 10 minutes | 16mm x 2 | color | sound A two projector piece, one image projected within the larger image. An homage to the symmetry of Brancusi’s three greatest outdoor works, which are situated across the length of the small rural town of Tirgu Jiu, Romania. Brancusi was born in the nearby tiny hamlet of Hobita and was commissioned to erect the “Endless Column”, the “Gate of the Kiss”, and the “Table of Silence”. The screen within a screen will produce a very dynamic illusion of being Kinetic (which is caused by perceptual confusion). -PS Restored by Anthology Film Archives (curator’s note: this rarely screened double projection color flicker film is often confused with a similarly titled, yet entirely different work of Sharits’ from 1984 titled Brancusi’s Sculpture Ensemble At Tirgu Jiu) https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/7a2907ca-56ed-4bb3-a407-d71d86375bbd/image001-4.jpeg 2023 Program 9 - Make it stand out 26 Pulse Wrought - (Film for Rewinds) Vol. I Windows for Recursive Triangulation Andrew Busti 2015 | 3 minutes | USA | 16mm | color | sound The first in a series of 9 Films investigating subjective languages, languages of subjectivity, and interpretive modes thru coded polyphonic articulate signals. A cinema for illumination and reflection. Exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice, the crux of increasing light… seen thru apertures…setting over the Pacific. Yes it is here…it is here, where we are… -AB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581725941421-06TA2Y97HT0KTGZ4V3ZH/20200214_185122.jpg 2023 Program 9 Cypris Marcelle Thirache 1995 | 4 minutes | France | super 8 | tinted b&w | silent Abstract film made of moving and sensual matter. This film was made in black and white and then colored using successive turns. -MT https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1581972293992-FEW1QPYP9YY31WN2PVG7/86817015_2721598937935529_7667221715256082432_n.jpg 2023 Program 9 Metric Film Federico Lanchares 2017 | 3 minutes | 16mm | b&w | silent Metric Film is a film that arises from the cinematic encounter between the arithmetic succession of Fibonacci (13th century) and the Method to make an infinity of different drawings with squares of two colors separated by a diagonal, of Father Dominique Doüat (18th century).. -FL https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2023 Program 9 Andrew Busti has been making "handmade" films in various forms since 1999. His work revolves around the idea of the subjective and the languages that evolve through experience and perception. His current 16mm film series, titled: 26 Pulse Wrought- Film for Rewinds are films that approach cinema as projected data feeds, articulate signals, and loci of information to be seen, heard, intuited...and eventually interpreted. He is the head of technical resources and an integral part of the new media preservation program for the Cinema Studies and Moving Image Arts Department at University of Colorado in Boulder where he teaches classes in Alternative Process and Alchemical Cinema. He fervently works with artists, museums, and archives through the name Analogue Industries Ltd., facilitating new works, helping to preserve works regardless of classification, while always striving to support analog cinema in all its ongoing forms. He is a founding member of Process Reversal, a nonprofit artist-run analog film initiative that currently educates, informs, supports, and outfits artist-run film labs and communities around the globe. When not working long hours and helping others make films or actually making his own, he might be found singing to his 11 month old baby boy and obsessing about the reclamation and refining of silver from the photographic process for at least .999 percent of his time. Federico Lanchares - Born in La Plata, Argentina. He is a film programmer and filmmaker graduated from the Art Department (National University of La Plata). He is the director of Semana del Film Experimental (La Plata Experimental Film Week), since it was founded in 2010. Kioto Aoki is a visual artist whose practice includes photography, film, books and installations to engage the material specificity of the analogue image and image-making process. Using the nuances of time, space, form, light and motion, her work explores different modes of perception as it relates to the space between the still and the moving image; as well as the human body within the device of photographic frame. She has exhibited and screened in Chicago, Berlin, Los Angeles, San Francisco, London and Japan. Her work is held in Joan Flasch Artists’ Book Collection and the Museum of Contemporary Art Chicago Library. Kioto received her MFA from The School of the Art Institute of Chicago and is currently a HATCH Projects artist-in-resident at the Chicago Artists Coalition. Robert Orlowski is a writer, filmmaker, and cinematographer working across narrative, documentary, and experimental filmmaking. His most recent work has screened at venues and platforms such as Alchemy Film and Moving Image Festival, Fracto Experimental Film Encounter, ICDOCS, Laterale Film Festival, Light Field, Microscope Gallery, Mono No Aware Festival, Now! A Journal of Urgent Praxis, Palm Springs Short Fest, and the Transient Visions Festival of the Moving Image. Martha Orlowski is the matriarch of the Orlowski family. Born in 1946 in Ivry-Sur-Seine, Marcelle Thirache begins with the practice of photography and exhibits her work as soon as 1978. First, her discovery of Marguerite Duras with the dissociation between sounds and images, and then the films of Germaine Dulac, foster a growing interest for cinema and finally lead her to choose the Super-8 in 1982. In 1987 she shows her films to yann beauvais and Miles McKane. In 1984, she develops a peculiar skill consisting in hand painting directly on a Super-8 filmstrip. To complete this cinematographic practice, she starts classical painting in 1999. Anja Dornieden and Juan David González Monroy are filmmakers based in Berlin. They work together under the moniker OJOBOCA. Together they practice Orrorism, a simulated method of inner and outer transformation. Since 2010 they are members of the artist-run film lab LaborBerlin. Andrew Kim is a filmmaker based in Los Angeles. His films have screened at a variety of festivals in Ann Arbor, Rotterdam, Toronto, and Buenos Aires, as well as in venues such as UnionDocs, New York and Los Angeles Filmforum. He teaches filmmaking at the California Institute of the Arts. Zack Parrinella is a filmmaker based in Oakland. His work often centers around dissonance and decay, sometimes more lighthearted and sometimes more anxious. His work has shown in various venues around our planet. Paul Sharits was born in Denver, Colorado and earned a BFA in painting at the University of Denver’s School of Art where he was a protege of Stan Brakhage. He also attended Indiana University in Bloomington, Indiana where he received an MFA in Visual Design. In July 1960, he married Frances Trujillo Niekerk, and in 1965 they had a son, Christopher. They divorced in 1970.He was subsequently a teacher at the Maryland Institute College of Art, Antioch College, and, from 1973 to 1993, the State University of New York at Buffalo. Sharits is recognized internationally as a pioneering experimental filmmaker; however, he was trained as a painter and adapted strategies from both disciplines in his work. His influence on audiences worldwide was very apparent during his life. http://www.lightfieldfilm.org/2025-program daily 0.75 2025-04-04 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/549c8a60-b9fe-41c5-9283-9eb131697ff9/Palestine+Will+Win+10.jpg 2025 Program Program 4 Saturday, April 12, 2025 @ 7pm The Lab ▴ Kioto Aoki ▴ Park Kyujae ▴ Mike Stoltz ▴ Lucie Leszez and Stefano Canapa ▴ Marcelle Thirache ▴ Esperanza Collado ▴ Jean-Pierre Olivier de Sardan ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/645d222e-7476-4b9b-9aa0-39c772cd4e93/before+need+2.jpg 2025 Program Program 3 Saturday, April 12, 2025 @ 5pm The Lab ▴ Viktoria Schmid ▴ Rosalind Nashashibi ▴ Gunvor Nelson and Dorothy Wiley ▴ Malic Amalya ▴ Tomonari Nishikawa ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/46001707-7772-45fc-9286-addc3807df13/theeyesempty.png 2025 Program Program 5 Saturday, April 12, 2025 @ 9pm The Lab ▴ Luis Macías ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/f1ed8979-46a6-438f-a2d7-c320e2def21e/sheng1.jpg 2025 Program Program 2 Friday, April 11, 2025 @ 9pm The Lab ▴ Kioto Aoki ▴ Lily Jue Sheng ▴ Ryan Marino ▴ Josh Weissbach ▴ Ulrike Schild ▴ Sharon Couzin ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/0cb4fc2c-499a-4ec9-8267-10b27f697e48/Garnett_Encounters_3.jpg 2025 Program Program 7 Sunday, April 13, 2023 @ 7pm The Lab ▴ Diane Kitchen ▴ Rhayne Vermette ▴ Christopher Harris ▴ Andrew Busti ▴ Mariah Garnett ▴ Jun’ichi Okuyama ▴ Madison Brookshire ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/6a832424-1762-4832-97c6-56a9737eed0c/ColorNegative_5.jpg 2025 Program Program 1 Friday, April 11, 2025 @ 7pm The Lab ▴ Christina Battle ▴ James Edmonds ▴ Zack Parrinella ▴ Sara Sowell ▴ Jerome Hiler ▴ Naomi Uman ▴ Pat O’Neill ▴ https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/8386a3a5-3a89-4ce9-a640-246a9c5ba9f9/This+Person+Still+2.jpg 2025 Program Program 6 Sunday, April 13, 2025 @ 5pm The Lab ▴ Rennie Taylor ▴ erica sheu ▴ Luisa Greenfield ▴ Isaac Sherman ▴ Kimberly Forero-Arnías ▴ Nora Rosenthal ▴ Eli Noyes ▴ http://www.lightfieldfilm.org/2025-program-1 daily 0.75 2025-03-19 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/2c0e3041-36dc-4330-ba5e-e0b195a24f8b/songs-overheard_1.6.31.jpg 2025 Program 1 Songs Overheard in the Shadows James Edmonds 2025 | 22 minutes | Germany | 16mm | color | sound Balanced on the edge of what is visible, everything comes from nothingness and returns to nothingness. Strands of consciousness trying to convene with each other. Forms of personal significance in a time of crisis, set free into random motion through chance operations. Recurring details point towards a centre. -JE https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2025 Program 1 Christina Battle is an artist based in amiskwacîwâskahikan, (also known as Edmonton, Alberta), within the Aspen Parkland: the transition zone where prairie and forest meet. Her practice focuses on thinking deeply about the concept of disaster: its complexity, and the intricacies that are entwined within it. James Edmonds is an artist-filmmaker from England living in Berlin. His work is driven by personal observations and a poetic approach to the everyday that is both formalistic and lyrical. His films have been shown at various international festivals including TIFF Toronto, NYFF New York, MoMI New York, Ann Arbor Film Festival, Kurzfilmtage Oberhausen, Curtas Vila do Conde, Open City London, FICUNAM Mexico City, and EXiS Seoul. Alongside cinematic works he creates paintings and installations, texts, poems and music. Since 2022 he collaborates regularly with artist Petra Graf. He also teaches workshops in various art fields, and organises occasional film screenings and exhibitions. Zack Parrinella is a film enthusiast, making films sometimes by hand processing in darkrooms and sometimes by working with commercial film labs, and usually both. His work often centers around dissonance and decay, sometimes more lighthearted and sometimes more anxious. Sara Sowell is an artist and experimental filmmaker. Her films, installations and performances reanimate legacies of art and media production through haptic aesthetic interventions. Her work has been exhibited in artist-run spaces, galleries and international film festivals including Microscope Gallery (New York, NY), CROSSROADS (San Francisco, CA), Baltic Analog Lab (Cēsis, LV), and IFFR (Rotterdam, NL). Jerome Hiler has been making films since 1964. For most of his life, he has only been sharing his work with friends and colleagues. Starting in 2010, he has been screening and distributing new work and some films that incorporate earlier material. He has been shown at many film festivals internationally. In 2012 his WORDS OF MERCURY was included in the Whitney Museum's Biennial. Retrospectives were also held at the New York Film Festival and the Harvard Film Archive. Naomi Uman creates work marked by her signature handmade aesthetic, often shooting, hand-processing and editing her films with the most rudimentary of practices. Naomi's films have been exhibited widely at the Sundance and Rotterdam International Film Festivals, The New York Film Festival, and the San Francisco International Film Festival among others; she has also screened her work at the Guggenheim Museum, the Whitney, the Smithsonian, and Mexico City's Museo de Arte Moderno. Pat O'Neill has been deeply involved in Los Angeles culture since the late 1960's. A founding father of the city's avant-garde film scene, an influential professor at CalArts and an optical effects pioneer, he is best known for his short works from the early 1960's onwards which are highly graphic, layered and reflexive assemblages based on a mastery of optical printing techniques. Several of his films between 1963 and 2006 include 7362 (1967), Runs Good (1970), Saugus Series (1974), Water and Power (1989), Trouble in the Image (1996), and The Decay of Fiction (2002). https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/f9134eef-1618-4fac-b426-9f55f2aafd4e/Hiler_Bagatelle_I_2.jpg 2025 Program 1 Bagatelle I Jerome Hiler 2016 | 16 minutes | USA | 16mm, 18fps | color/b&w | silent Bagatelle I is a film with a thread of portraiture running through it. We meet an artist clinging to a fence during a break from his workplace. The walls of his world are formidable and highly energetic. Still, there are spaces where solitary work can transform a chaotic world. -JH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1ca0f445-6756-4e5d-8562-7f5a032a0be7/ColorNegative_2.jpg 2025 Program 1 Color Negative Sara Sowell 2023 | 5 minutes | USA | 16mm | color | sound Guesstimating the ecological impact of artist film across the private airlines of the Kardashian-Jenners. Film turns facts into flicker. Hand-processed color negative film. -SS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/68c3aa1a-6a86-49de-94bd-7964487ef000/Uman_PrivateMovie_4.png 2025 Program 1 Private Movie Naomi Uman 2000 | 6 minutes | USA | 16mm | b&w | sound This love story in three parts recounts the amorous journeys of one woman, in love with places, pets, men and nostalgia. -NU https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/9344d47e-32e6-4941-8121-2e863f4c12b1/ONeill_Easyout_3.jpg 2025 Program 1 - Make it stand out Easyout Pat O’Neill 1972 | 9 minutes | USA | 16mm | color | sound Has to do with a consideration of one possible conceptual model for human existence: that of a primitive form of yard chair, upon which sits The Creator, impassively observing the inexorable flow of His mountains. The name "Easyout" is derived from a commercially available bolt and stud-extracting tool, whose function seemed strangely parallel to that of the film. -PO https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/9086f093-78ea-4792-b696-57184e61d50b/OilWells2.jpg 2025 Program 1 Oil Wells: Sturgeon Road & 97th Street Christina Battle 2002 | 3 minutes | Canada | 16mm | color | sound highlighting the repetitive nature of oil wells in northern alberta, this hand processed film documents a sighting common to the canadian prairies. -CB Shot in the artist’s home province in Alberta, the mechanical rising and falling of an oil well is subject to a suite of rephotography applications (recoloured, superimposed, speed changes). Views of far and near are juxtaposed. Theme and variations, not with a piano, but an oil derrick on a prairie field, rising and falling. [Mike Hoolboom, 2007] https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/7b1a78ed-1dd6-4fd3-a4d1-85d24bc692f7/INCHOATRACIES+2.png 2025 Program 1 INCHOATRACIES OR EVERYTHING IS AS IT GOES IN ANTEROGRADE Zack Parrinella 2024 | 2 minutes | USA | 16mm | color | sound An antagonizing balance between the existence and perception of things. -ZP http://www.lightfieldfilm.org/2025-program-2 daily 0.75 2025-04-04 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/c30c2d96-e2d8-4621-8367-b0ff2466bb74/marino1.jpg 2025 Program 2 Half Light Ryan Marino 2023 | 10 minutes | USA | 16mm | color | sound Shot over a period of three years in a single interior space, this film explores sensory perception through the textural surface of expired film stock, light and layered images. Ephemeral moments meld into voids of grain. -RM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/e3909c42-a55f-4e41-9165-f30d5e33b051/schild2.png 2025 Program 2 Apfelesser Guter Küsser? (Appleeater Good Kisser?) Ulrike Schild 2024 | 3 minutes | Austria | 16mm | color | silent Apfelesser Guter Küsser is a film project that delves into an Austrian childhood myth: Can you tell if someone is a good kisser based on how they eat an apple? A group of men pose for the 16mm camera, each eating an apple in their own unique way. The focus lies on the intimate, almost symbolic gesture of eating, which can be interpreted as both mundane and sensual. The project explores the subtle differences in behavior and implicitly asks whether the way someone eats an apple can reveal anything about their kissing abilities - playful yet profound reflection on physical expression and personal experience. A key visual element is the uniform clothing of the men, all dressed in the same shade of red, which acts as a literal and metaphorical thread throughout the film. The uniform creates an intriguing dialogue between tradition and modernity and balances intimacy and anonymity. -US https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/b3825094-e092-42cc-8887-871e0ea1e18e/couzin1.jpg 2025 Program 2 - Make it stand out A Trojan House Sharon Couzin 1981 | 25 minutes | USA | 16mm | color | sound A house of trick cards, the woman as house. -SC "Architectural structures become the structures of relationships, establishing the windows of communication (between parents and children, between lovers) while preserving a sense of enclosure, isolation." -Dave Kehr https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2025 Program 2 Kioto Aoki (青木希音) is a Chicago-based artist, educator and musician, whose studio practice navigates various mechanisms and propositions of spatial and visual acuity that respond to, are formed by and creates observations or experiences of the body in space. Primarily rooted in analogue image-making traditions of photography and cinema, Aoki integrates architectural, biographical and geographic histories that balance material and research-based approaches through nuances of material form, spatial play and exhibition strategies. In her work the body often activates, holds, and navigates propositions of sight and relativity and becomes an inflection point that oscillates between assertions of personal, communal or universal experience and cultural histories. Aoki has performed and exhibited at Museum of Contemporary Art Chicago, Asian Art Museum (San Francisco), the Chicago Cultural Center, 6018|North (Chicago), Gallery Kobo Chika (Tokyo, Japan), The Lab (San Francisco), and the Barbican Centre (London); among others. Lily Jue Sheng 盛珏 is an artist/filmmaker, cinema worker, and organizer local to New York City and New Jersey (Lenapehoking). Ryan Marino is a New York–based artist working with film and sound. His 16mm films have screened at film festivals and venues worldwide, including: Anthology Film Archives, Crossroads, New York Film Festival, Milwaukee Underground Film Festival, Uplink, RPM Festival, San Francisco International Film Festival, WNDX Festival of the Moving Image, Fracto Experimental Film Encounter, Transient Visions, Celluloidra Revolverrel, Ribalta Experimental Film Festival, Spectacle Theater, Engauge Experimental Film Festival and the Pacific Film Archive. Josh Weissbach is an experimental filmmaker. His films have been shown worldwide in such venues as Ann Arbor Film Festival, Slamdance Film Festival, European Media Art Festival, Chicago Underground Film Festival, 25 FPS Festival, First Look at Museum of the Moving Image, Alchemy Film and Moving Image Festival, and Festival des Cinémas Différents et Expérimentaux de Paris. He has won jury prizes at Montreal Underground, Videoex, ICDOCS, Onion City Experimental Film and Video Festival, Berlin Revolution Film Festival, and Haverhill Experimental Film Festival. Ulrike Schild's paintings and films illuminate the significance of social and nature-based community. When recording analogue film and painting on canvas, she explores motifs that oscillate between concrete form and abstract dissolution. Groups and individuals become subjects of magical realism as they often unveil forms of contemporary tradition. The incompatibility in her juxtaposition of human fragility with the monumentality of earth, bears evidence of the absurdity of contemporary human endeavor. Schild lives and works in Vienna and Cologne. Sharon Couzin (1943-2019) was a Chicago experimental filmmaker, painter, and poet who began making films in the early 1970s. Her work is known for its complex visual layering that reflects a personal, autobiographical point of view. In addition to her filmmaking work, Couzin was a significant figure in building and promoting the experimental film community in Chicago, Illinois. In 1983, while teaching filmmaking at the School of the Art Institute of Chicago (SAIC), Couzin helped found the Experimental Film Coalition, an organization that held regular monthly screenings, created the Onion City Film Festival and published several periodicals. Couzin served as the Coalition's President until 1988. Couzin studied filmmaking at SAIC, earning a BFA there in 1976 and an MFA in 1977. After continuing on to teach at SAIC, she served as Chair of the Film Department for a decade. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/a59e0aa1-b914-4f39-8088-0983bb7c061f/aoki1.jpg 2025 Program 2 逆立ち逆立ち : If pinholes were right side up, I would be doing handstands Kioto Aoki 2024 | 3 minutes | USA | 16mm | b & w | silent The inversion of the body is a familiar and natural state in gymnastics, where handstands (逆立ち / sakadachi in Japanese) are an essential part of the physical lexicon. Camera obscuras share a similar state: the image is upside down. In both handstands and camera obscuras, the inverted body is the correct orientation. Inside a pinhole camera, we are always inverted, always upside down, except when in an actual handstand. Only then are we right side up, in an upside down handstand. This recurring logic of formal and conceptual reorientation found its way into a vignette using in-camera mattes that playfully inverts and subverts other systems of logic. -KA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/b107992a-aba0-4ccc-a98b-a1c259c1ccf5/weissbach1.jpg 2025 Program 2 Zero Woods of the Wild Place Josh Weissbach 2023 | 12 minutes | USA | 16mm | color | sound Zero Woods of the Wild Place explores the forest that cannot conceal the trauma, the house that cannot listen while dying, and the labyrinth that spirals into the ethics of audio recording. -JW https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/2c5dbeaf-ddb0-460c-b4d4-5d569acd1557/sheng3.png 2025 Program 2 Heritage Architecture Lily Jue Sheng 盛珏 2024 | 9 minutes | USA/China/Taiwan | 16mm | color | sound Heritage Architecture is a landscape film that plays over three 100' rolls of 16mm, loosely interweaving street scenes from Chinese and Taiwanese port cities through the interstitial space-time of alleyway homes, street markets, and festivals. In the city of Shanghai, heritage architecture is encapsulated within the petite bourgeois memory of longtangs; in Taiwan, this materializes through the spiritual economy of traditional temples. In the end, the hauntologies of these places are preserved in their heritage character which reveal simultaneously national, local, and personal histories that twist and turn alongside changing political powers and rapid urban development. -LJS http://www.lightfieldfilm.org/2025-program-3 daily 0.75 2025-03-19 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/98d69e75-3322-4d64-803a-267e3cddb19d/NYC+RGB.jpg 2025 Program 3 NYC RGB Viktoria Schmid 2023 | 7 minutes | Austria | 16mm | color | sound “With NYC RGB Viktoria Schmid shows us a view of New York that we’ve never seen before, made possible by historical color film processes. The material, triple exposed with different color filters, mixes colors, space, and time to a perception that is possible only in film. Evidence of cinema’s potential for bursting open reality. The film is part of a series of works in which Schmid looks back to early color film processes.” -Light Cone https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2025 Program 3 Viktoria Schmid is a visual artist and filmmaker based in Vienna, who is working at the interface of the cinematic and the exhibition space. Her work has been shown nationally and internationally in exhibitions and film festivals. She studied filmmaking at the Friedl Kubelka School, holds a BA in Cinema Studies from the University of Vienna and a Masters in Time-Based Media from the University of Art and Design Linz. The different mediums she uses, like film, video and photography are the co-authors of her work - she enjoys that their specific characteristics form her pieces. British-Palestinian artist Rosalind Nashashibi is a painter and filmmaker. Her films are often non-linear, punctuated by manifestations of power dynamics and collective histories. Subjects have included non-nuclear family structures, the multiple personae of the artist and chronicling Palestinian life. In her painting, sentimental or overbearing motifs such as a pair of swans or a X, intrigue us into looking at them anew, and her references to historical paintings are dives into the past to bring back new experiences. Malic Amalya (b. 1980 - Burlington, VT) is an experimental filmmaker working across 16mm, video, and performance. His films are situated between formal avant-garde traditions, the anti-assimilation subculture of queercore, and intersectional feminism. His creative framework is informed by prison abolition, decolonization, anti-racism, gender self-determination, disability justice, anti-capitalism, and climate justice. Malic is an Assistant Professor of Experimental Media and Film Production at Emerson College. He earned an MFA in Moving Image from the University of Illinois-Chicago, an MA in History and Theory of Contemporary Art from the San Francisco Art Institute, and a BA from Hampshire College. He was an Affiliate Artist at the Headlands Center for the Arts, and has been an artist in residence at Signal Culture and the Vermont Studio Center. Since 2014, Malic has been collaborating with his boyfriend, Nathan Hill, under the name Vitreous Chamber. They live and work together in Boston, MA. Gunvor Nelson (1931-2025) moved from Sweden to California in the early 1950s. She made her filmmaking debut with Schmeerguntz (1966), a film she co-directed with Dorothy Wiley. This amusing, grotesque attack on the ideal of the American woman was the start of a film oeuvre that has comprised 20 films in 16 mm, six videos and several installations, as well as another series of artistic works. Trained as a painter, Nelson conceived film as a plastic medium, expressed through her fascination for pigment and the play of light and shade on the flat surfaces of her sensory, ambiguous and poetic images. Nelson often subjectively altered the material by means of overprints, collages, paintings, drawings, etc., in a way that is sometimes openly emotional and expressive, other times contemplative and calm. The effect of language and sound on the moving image heightens the dream aesthetic in her films. As friends living in Marin County, Nelson and Dorothy Wiley began making films together in the 1960s that foregrounded their personal experiences while examining issues of family, parenthood, partnership and domestic life in the context of artist filmmaking in Northern California. Featuring original soundtracks, their collaborative and solo films explore the poetics of everyday life, from portraits of motherhood to close studies of various bodies. Tomonari Nishikawa’s films explore the idea of documenting situations/phenomena through a chosen medium and technique, often focusing on its process. His films have been screened internationally, and he is currently teaching in the Cinema Department at Binghamton University. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/ce21067f-afff-40af-b222-26f6583922d9/Plastic+aortas.jpg 2025 Program 3 Plastic Aortas Malic Amalya 2024 | 10 minutes | USA | 16mm | color | sound Plastic Aortas is a portrait of the black plastic encasing the Fells Reservoir in the unceded land of the Massachusett, Pawtucket, and Naumkeag indigenous peoples. The lining was placed there by conservationists in order to mitigate the invasive Common Reed, which is killing native plants. However, the lining also interferes with wildlife and contaminates the water. The film’s title references Roland Barthes' 1957 essay, "Plastic," in which he writes, “The hierarchy of substances is abolished: a single one replaces them all: the whole world can be plasticized, and even life itself since, we are told, they are beginning to make plastic aortas.” 65 years after Barthes’ essay was published, in 2022, microplastics were found in human blood and, in 2023, in human heart tissue. In this 16mm film, tension rises between the benefits and hazards of plastic or, as Barthes describes, between plastic and “life itself.” -MA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/ac31537c-47a2-4d4a-bdc0-8159ec851e3d/Copy+of+Nishikawa_LightNoiseSmoke_1.jpg 2025 Program 3 Light, Noise, Smoke, and Light, Noise, Smoke Tomonari Nishikawa 2023 | 6 minutes | Japan/USA | 16mm | color | sound The visual shows the alternation of the shots of fireworks filmed at a summer festival in Japan, producing a distinctive yet organic rhythm, as well as a gap in time between the visual and sound, both of which are produced by the photographic images on the 16mm filmstrip. -TN https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/badb2f17-5e55-4cf9-a2a3-8177af4507b6/ThisQuality.jpg 2025 Program 3 This Quality Rosalind Nashashibi 2010 | 4 minutes | Egypt/UK | 16mm | color | sound “This Quality is a film shot in downtown Cairo. It comprises two halves: the first shows a 30-something woman looking directly at the camera, and sometimes acknowledging the existence of others around her who we cannot see. She has a beautiful face with eyes which seem to see internally rather than outwardly, they almost have the appearance of being painted on, suggesting the blindness of a mythological seer. The second half shows a series of parked cars covered with fabric. Each car suggests a sightless face, as the fabric stretched around the machine turns it into a face but also seems to hood the car so that it is conspicuously hidden, like a child covering his eyes.” -LUX https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1e55d252-0d12-4251-a52d-9cfb19bc6cb1/before+need+1.jpg 2025 Program 3 Before Need Redressed Gunvor Nelson & Dorothy Wiley 1994 | 42 minutes | USA | 16mm | color | sound Does aging bring perspective to this life, often lived by absurd Standards of Behavior, when all soon turns to dust? (We started with some actors, friends, and relatives.) The humans, as they struggle to construct their reality, seem preoccupied by words, problems, and abstract theories while surrounded by a luminescent reality radiating mysterious objects. The Before Need of the title refers to the signs that mortuaries place on burial plots, gravestones, or urns that have been purchased but are not yet needed. -DW http://www.lightfieldfilm.org/2025-program-4 daily 0.75 2025-03-28 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/4cf5c819-f34c-4847-a33e-7ff52da2f883/Holographic+Will+2.jpg 2025 Program 4 Holographic Will Mike Stoltz 2024 | 6 minutes | USA | 16mm | color | sound A domestic swirl filmed while the building was being sold. How much longer can we afford to stay? A kaleidoscopic portrait of destabilization during the struggle to stay in a rent-controlled apartment amidst an affordable housing crisis. Shot frame-by-frame, moving the camera between every image. Single frames move forward in time, creating after-image combinations without superimpositions. A phased drum machine soundtrack emphasizes the percussive quality of the image. With gratitude to neighbors and the Los Angeles Tenants Union Northeast Local. -MS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/9f1a3574-7439-4ab0-ac91-44011c3d2e5b/tumblr_4b72b37287f8c05077f6ac5d7475c955_0bcdbfaa_1280.jpg 2025 Program 4 Study for Three Streams Park Kyujae 2024 | 5 minutes | South Korea | 16mm | b&w | silent Filmed at Hongjecheon in Seoul, Mokgamcheon in Gwangmyeong, and Gulpocheon in Incheon, the film captures the impressions of three streams in three different cities. Each of the three streams intersects and overlaps with images of the filmmaker’s own body. -PK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/00994419-dee8-46ea-b025-443ed642eab7/BOSCO+1.jpg 2025 Program 4 - Make it stand out BOSCO Lucie Leszez & Stefano Canapa 2024 | 8 minutes | France | 16mm | b&w | silent Three filmmakers bring back images of the forest, they are reworked and destructured with the means of the photochemical laboratory. Bosco is a visual breakthrough punctuated by a contrasted and hypnotic black and white. -LL & SC https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/95139f3d-8686-413b-b363-1fdffd138acd/Palestine+Will+Win+5.jpg 2025 Program 4 Palestine Will Win Jean-Pierre Olivier de Sardan 1969 | 28 minutes | France | 16mm | b&w | sound "I was also very drawn in by the Palestinian issue. I didn't try to make a big film, but just wanted to have a propaganda film, an intelligent one and, in fact, that is how it worked out. At that time, support for the Palestinian struggle was growing, so there were many activist committees that needed such a film. I've been told it was not only in France, but also in Germany, so it served as very good support for all of these committees around the world. I think the film has been viewed by thousands and thousands of people. The whole thing was just shots of photographs that were hung on the wall. That was the whole film and we didn't have an archive. Mahmud Hamshari and Eiz Eldien Qalaq tried to find us as many photos as they could from Palestine, then we chose from them, put them on the wall, and that was it. At the end, we used a real archive of Vietnam, which I think I took from Joris Ivans." -JOdS “The film was called Palestine Will Win and it got lost - even De Sardan himself hasn't seen the film since 1972.” -Palestine Cinema https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2025 Program 4 Kioto Aoki (青木希音) is a Chicago-based artist, educator and musician, whose studio practice navigates various mechanisms and propositions of spatial and visual acuity that respond to, are formed by and creates observations or experiences of the body in space. Primarily rooted in analogue image-making traditions of photography and cinema, Aoki integrates architectural, biographical and geographic histories that balance material and research-based approaches through nuances of material form, spatial play and exhibition strategies. In her work the body often activates, holds, and navigates propositions of sight and relativity and becomes an inflection point that oscillates between assertions of personal, communal or universal experience and cultural histories. Aoki has performed and exhibited at Museum of Contemporary Art Chicago, Asian Art Museum (San Francisco), the Chicago Cultural Center, 6018|North (Chicago), Gallery Kobo Chika (Tokyo, Japan), The Lab (San Francisco), and the Barbican Centre (London); among others. Park Kyujae makes films using Super 8, 16mm, and digital formats, exploring the play of light, personal themes, and natural landscapes. He organizes film screenings on a non-regular basis and translates films for film festivals and cinematheques in South Korea. Mike Stoltz is a Los Angeles-based moving image artist whose practice is dictated by process, working directly with the tools of cinema (images, sound, and time) to reexamine the familiar, the communal, and the medium itself. His works are rooted in a bodily encounter with the subject. This manifests on screen in instances of engaging with performers from behind the camera, chance-based interventions in landscape, moving the camera in concert with architectural structures, and directly addressing the audience. Special effects are created by hand through in-camera techniques, rephotography, and directly manipulating video signals. Physicality continues in the process of editing the pieces, cutting directly on 16mm film and composing the soundtracks from tape music and live sound generated with collaborators. Stoltz's 16mm films and videos have screened internationally at venues such as Toronto International Film Festival, New York Film Festival, Media City Film Festival, Hong Kong International Film Festival, Courtisane, Buenos Aires International Independent Film Festival (BAFICI), Light Field, International Film Festival Rotterdam, REDCAT, and the Ann Arbor Film Festival. He has programmed film screenings for Magic Lantern Cinema, The Echo Park Film Center, VISIONS, and The Arroyo Seco Cine Club. Lucie Leszez began a PhD thesis in 2018 at the University of Grenoble on gestures in experimental and contemporary documentary cinema. Co-organizes at the ENS-Ulm the seminar "Gestures of documentary cinema" with Mariya Nikiforova and Lucile Combreau, and the film club "To film the social field." Member of the review Documentaires. Member of artist-run film labs L'Abominable and MTK. Stefano Canapa was born in Turin (Italy) in 1977. Holder of a Master's degree in History and Technique of Cinema, he has been making films since the late 90s. He was a member of the Groupe Zur, a collective of artists from different backgrounds who work at the crossroads of the visual arts, theatre, music, and film. For over twenty years he was part of the film-makers‘ collective in charge of the artists' film laboratory L'Abominable, making shorts and feature films, documentary and experimental, as well as performances and installations with musicians from the field of experimental music. In a way, his approach is located at the intersection of these different genres, linking a manual and poetic reason with the exploration of the possibilities offered by the tools of film. He often constructs his films from images taken from his everyday life, from simple scenes that he reworks using the resources of the photochemical laboratory. Marked by anthropological and visual concerns, his films focus on tenuous stories, the transmission of which is based on the development of a cinematographic language in tension between documentary and experimental as much as between figuration and abstraction. His work has been presented and awarded in numerous international festivals, exhibitions, and alternative venues as Locarno, Rotterdam, Berlin, Oberhausen, Marseille, and Paris. Esperanza Collado is a Spanish artist-researcher. Her performance-environments, site-specific works and critical texts investigate the dematerialization of film in art practices, the performativity of writing and the figure of the artist as metahistorian. Often focusing on the phenomenological and situational aspects of cinema and projection, her interdisciplinary works explore the conditions and paradoxes of the performative materiality of the film apparatus at the end of the film age. Recent works revolve around the spatial, sculptural, political, social and choreographic dimensions and potentialities of a cinema by other means. Her book ‘Paracinema: la desmaterialización del cine en las prácticas artísticas’ (Paracinema: the dematerialisation of film in artistic practices), a short version of her Ph.D, won the Spanish Writings on Art Prize from Fundación Arte y Derecho in 2011. She co-founded the editorial project LEVE, releasing 7 records on 45rpm vinyl of site-specific field recordings made by invited artists. Collado's work has been shown at Museum of Moving Image (New York), Taipei Contemporary Art Center (Taiwan), Bristol Experimental and Expanded Cinema (UK), Temple Bar Gallery + Studios (Dublin), Close-Up Cinema (London), MNCARS (Madrid), Images Festival (Toronto), Palais des Beaux Arts (Brussels), MacVal (Paris), Tabakalera CICC (San Sebastian), Centro de Arte Digital (Mexico), Biennial of Havana (Cuba), Image Forum (Tokyo), Anthology Film Archives (New York), Lajevardi Foundation (Teheran), etc. Jean-Pierre Olivier de Sardan is Professor of Anthropology at the Ecole des Hautes Etudes en Sciences Sociales in Marseilles and Director of Research at the Centre National de la Recherche Scientifique in Paris. Marcelle Thirache: Born in 1946 in Ivry-sur-Seine. She begins with the practice of photography and exhibits her work as soon as 1978. First, her discovery of Marguerite Duras with the dissociation between sounds and images, and then the films of Germaine Dulac, foster a growing interest for cinema and finally lead her to choose the Super-8 in 1982. In 1987 she shows her films to yann beauvais and Miles McKane. In 1984, she develops a peculiar skill consisting in hand painting directly on a Super-8 filmstrip. To complete this cinematographic practice, she starts classical painting in 1999 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/48c4916d-9925-4e82-9c54-0c90aebee84d/Lightly+Heeled_still2.jpg 2025 Program 4 Lightly Heeled Kioto Aoki 2024 | 3 minutes | USA | 16mm | b&w | silent Remnants of hand processing animates the candlelight relevé. -KA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/3affe33c-974c-4af4-8a2b-66bc11ab2033/20200214_185122.jpg 2025 Program 4 - Make it stand out Cypris Marcelle Thirache (1946-2025) 1995 | 3 minutes | France | super 8 | tinted b&w | silent Abstract film made of moving and sensual matter. This film was made in black and white and then colored using successive turns. -MT https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/c9ee637f-70b2-43dd-aa02-a3f4ca5058d3/Tra%CC%81game+nube+3%281%29.jpg 2025 Program 4 Trágame nube Esperanza Colado 2024 | 12:40 minutes | Spain | 16mm | color | silent Initially conceived as an art installation in which two twin films are projected on the two sides of a screen, Trágame nube intends to deconstruct the single point of view of camera and projector, implicating the body into a complex dialectical cinematic space. The film is inspired by José Val del Omar’s ideas on cinema and perception. Val del Omar probably is the most important Spanish experimental filmmaker of the 20th century. Shot with Bruno Delgado Ramo, the two films that make Trágame nube have an exact complementary structure divided into three parts. The first one is an improvised play tag at the Alhambra palace in Granada, hometown of Val del Omar where he shot some of his most emblematic films. The second and central part is devoted to activating in playful ways the author’s original documents, held at the library of Reina Sofia Museum. The film apparatus is presented in the third part of the film as sculpture and theatre, in a loose association with Val del Omar's emblematic studio PLAT (Picture-Luminous-Audio-Tactile). Trágame nube was commissioned by the Museum of the Moving Image in New York. -EC http://www.lightfieldfilm.org/2025-program-5 daily 0.75 2025-03-19 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/9f199eb2-9e2c-4d67-8ce9-a4a695af1575/Institut_llull_Marca_Black_H.png 2025 Program 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/9fc6a71a-5269-453d-bb5f-e68b9bf3306c/theeyesempty.png 2025 Program 5 THE EYES EMPTY AND THE PUPILS BURNING OF RAGE AND DESIRE Luis Macías 2018 | 20 minutes | Spain | 16mm expanded An exploration of the emulsion, Without image. Without sound Without description. “...the idea is to reduce to the minimum the elements that form the cinematograph device. To work with less elements but having a deep control over it. The limitation of using only 2 meters of processed film stock that becomes totally black is highly stimulating. I’m forced myself to control each frame with all – only the elements of the projection, light, shutter and focus...” -LM https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2025 Program 5 Luis Macías is an artist, filmmaker and image-moving composer. His pieces deal with the formal and spectral properties of the moving image, through the exploration of the cinematographic device itself and the photochemical nature of the medium. Focused on experimental and procedural practices of analog image, his works in Super 8, 16mm, 35mm and / or video format are composed for projection, performance or installation. His films and pieces of expanded cinema have been shown in prestigious film, art and music festivals as well as art centers, museums and alternative spaces around the world. Co-founder and active member of CRATER-Lab, an independent artist-run-film Lab for analog cinema. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/f721ad64-dc49-44ea-8f39-ba299068a403/Captura+de+pantalla+2024-09-07+a+las+10.03.33.jpg 2025 Program 5 - Make it stand out IN-OUT-AROUND Luis Macías 2024 | 25 minutes | Spain | 16mm expanded + slide projectors | color | sound inside-outside-around a forest in its natural transformation... ... on the deep of your gaze -LM Sound by Tomas Novóa http://www.lightfieldfilm.org/2025-program-7 daily 0.75 2025-03-19 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/6d522cd7-72db-4c3d-bfc8-b35216713a46/rb2024.2_Vermette_BlackRectangle_2014_MasterFile_ProRes422.00_00_47_11.Still001.png 2025 Program 7 Black Rectangle Rhayne Vermette 2013 | 2 minutes | Canada | 16mm | color | sound "Time has not been kind to Kasimir Malevich’s painting, Black Square. In 1915, when the work was first displayed, the surface of the square was pristine and pure; now the black paint has cracked revealing the white ground like mortar in crazy paving." This film documents a tedious process of dismantling and reassembling 16mm found footage. The film collage imitates functions of a curtain, while the recorded optical track describes the film's subsequent destruction during its first projection. -RV https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/39208d27-4754-416d-87d5-bb1d9f358e66/26_Vol2_U.jpg 2025 Program 7 26 Pulse Wrought - (Film for Rewinds) Vol. II Exceptional Violents Andrew Busti 2017 | 3 minutes | USA | 16mm scope/anamorphic | b&w | sound These are the ordinary and daily hands. Spelling in signs. Reverse engineering rituals, performed on a stage, which was once referred to as "the world." -AB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/7707f4ca-4846-4734-a4e7-ec8eda463660/Garnett_Encounters_2.jpg 2025 Program 7 - Make it stand out Encounters I May Or May Not Have Had With Peter Berlin Mariah Garnett 2012 | 14 minutes | USA | 16mm | color | sound Encounters I May Or May Not Have Had With Peter Berlin deals primarily with monumentality, narcissism and the ways in which our heroes are embedded into our identities, and manifested through the body. Through a variety of gestures, the pervasiveness of this practice is highlighted alongside its ultimate, inevitable failure. The viewer moves through various stages of anxiety, idolization and actual touchdown with 70's gay sex icon Peter Berlin himself, capturing both the apparent and the hidden. The film guides the viewer through the process of making contact with a figure who exists only in his own photographs. The film culminates in an interview with Peter Berlin in his apartment, describing a moment of exchange that crosses lines of gender and generation, a moment where the identities of two filmmakers briefly coalesce. -MG https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/7730d948-51e8-4e8d-887e-e09cc3bb3dff/09+b_w+Divine+White.jpg 2025 Program 7 b/w Christopher Harris 2023 | 3 minutes | USA | 16mm | b&w | silent with audience participation for sound Using close focus cinematography of text from commercial house paint samples, this film suggests a mythology of light and shadow. The audience is asked to participate during the screening by reading the paint names aloud. -CH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/9318b8bf-9650-480f-90e0-4f3c81c30db3/AMan.jpg 2025 Program 7 - Make it stand out A Man Playing Movie Jun'ichi Okuyama 1986-1987 | 10 minutes | Japan | 16mm | color | sound "Jun'ichi Okuyama plays at making a film from the material and the accidents that gradually disrupt the natural recording of the camera. Everything begins and ends with the noise of the projector. Landscape sequences gradually undergo the interferences and rhythmic interruptions of a hand, a moving reel and then a crack crossing the frame from one side to the other, these are all tangible signs of the filmmaker's presence. The universe disintegrates and recomposes itself in this back and forth between reality and its reflection 'in the movie'." -Light Cone https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/27948ec1-6602-47af-8973-f194622c9d30/wac_45894.jpg 2025 Program 7 Wot the Ancient Sod Diane Kitchen 2001 | 17 minutes | USA | 16mm | color | silent Effects of the sun move through the turning autumn leaves. Forces are in transition; the drama of ceaseless minute interactions. All of this light and life that goes into making up the earth, the ground, the sod. -DK https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1edcd1e3-a3d5-489d-8007-23b584568728/abst-01.jpg 2025 Program 7 A Black Screen Too Rhayne Vermette 2024 | 2 minutes | Canada | 16mm | color | sound The sequel to Black Rectangle. Acts of discipline in celebration of destruction. -RH https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/2dda2666-bc6e-4faf-b87c-ceb9e7cc0e35/Brookshire_No+10+diagram.jpg 2025 Program 7 - Make it stand out No. 10 Madison Brookshire 2024 | 13 minutes | USA | 16mm expanded | color | sound The Number Series uses double projection to create an uncanny experience of color as both presence and absence, a negation that is generative. In No. 10, symmetrical films emerge from and return to gray in an offset pattern. -MB https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2025 Program 7 Diane Kitchen is an experimental filmmaker. Her work in film bridges documentary, personal expression, and cultural commentary. Rhayne Vermette was born in Notre Dame de Lourdes, Manitoba. It was while studying architecture at the University of Manitoba, that she fell into the practices of image-making. Primarily self-taught, her work emphasizes an interruption of image through collage, photography and analog filmmaking. Themes of place, time and memory are expressed through opulent layers of fiction, animation, reenactments and divine interruption. Her works and films have been exhibited internationally and highlights presentations at the Toronto International Film Festival, the Walker Art Center, New York Film Festival, the Remai Modern, Jeonju International Film Festival, Mar del Plata Film Festival, Valdivia International Film Festival, DocumentaMadrid, Platform Center for Photographic and Digital Arts, and Ociciwan Contemporary Art Collective. Christopher Harris makes films and video installations that read African American historiography through the poetics and aesthetics of experimental cinema. Often drawing on archival sounds and images, his work features staged re-enactments, hand-cranked cameras, rear-projection, close-focus cinematography, re-photography, photochemical manipulations, and screen captured video, among other strategies. Like his production techniques, his influences—among them Black literature, various strains of North American avant-garde film, and most significantly, all forms of Black music—are eclectic. Working through incongruity and slippages, between sound and image, between past, present and future, and between absence and presence, his films, like the music from which they take inspiration, embodies the existential complexities and paradoxes of racialized identity in the U.S. Andrew Busti is a Colorado-based filmmaker, educator, preservationist, and analogue film facilitator who has been making process-based films for 25 years. He has taught analogue and alchemical cinema since 2005 and continues to support analogue filmmaking and artists through his company Analogue Industries Ltd. His film series 26 Pulse Wrought - Film for Rewinds is a series of films utilizing polyphonic data structures and coded languages to engage viewers in both active and passive modes of data interpretation and translation. Mariah Garnett mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience. Using source material that ranges from found text to iconic gay porn stars, Garnett often inserts herself into the films, creating cinematic allegories that codify and locate identity. She holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. She has received awards from the Rema Hort Mann Foundation, Sarah Jacobson Film Grant, California Community Fund and Artadia Los Angeles. Her work has been exhibited and screened internationally including at the following venues: The New Museum, Ann Arbor Film Festival, The Hammer Museum, the Metropolitan Art Center (Belfast, UK) and her exhibiting gallery, ltd los angeles. She lives and works in Los Angeles. Jun'ichi Okuyama (1947, Tokyo) graduated from Tamagawa University. He consistently offers a radical expression of cinema itself, using diverse and wide-ranging techniques. Madison Brookshire lives in Los Angeles, where he makes films, paintings, and performances. His work invites viewers to become aware of perceptual processes and the sensuous experience of time. He frequently collaborates with musicians and composers, including Ezra Buchla, LCollective, Laura Steenberge, Mark So, and Tashi Wada. http://www.lightfieldfilm.org/2025-program-6 daily 0.75 2025-04-08 https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/7035bb12-d58b-4449-822f-70e15852efba/Alphabet+Still.png 2025 Program 6 - Make it stand out Alphabet Eli Noyes 1966 | 6 minutes | USA | 16mm | b&w | sound Alphabet is a representational romp through the letters of the alphabet, as the artist takes us through a series of images, changing at his will and at the literal tips of his fingers, evident in the indelible ink marks made for us on screen. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/10b5d455-6d13-4d13-82c7-f45b73b21b63/recortes-01%281%29.jpg 2025 Program 6 - Make it stand out recortes Kimberly Forero-Arnías 2023 | 11 minutes | USA/Colombia | 16mm | color | sound Field journal entries, both mine and of others, are ground together to explore what is filtered and what remains as families of fauna and flora move from one environment to another. -KFA https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1510773820073-POZ6SGCKGRXQE497GQ0G/image-asset.png 2025 Program 6 Rennie Taylor is a multidisciplinary artist based in Toronto. His practice focuses on the everyday with an emphasis on nostalgic signs and symbols found in popular culture. Engaging in the practices of photography, filmmaking, animation, collage and illustration he explores themes of consumerism, the handmade and obsolescence. His short experimental Super 8 films and videos have been screened across Canada and Internationally. Nora Rosenthal is a writer, filmmaker, and artist whose work has been supported by the Canada Council for the Arts, the NFB, and the Ontario Council for the Arts. She has attended the RIDM Talent Lab, participated in the Emerging Artist Network at the Power Plant Contemporary Art Gallery in Toronto, the Momus Emerging Critics Residency in Montreal, and the 2025 Early Career Banff Artist in Residence program. Formerly the Arts and Culture Editor at Cult MTL, her writing has appeared in Momus, MUBI’s Notebook, The Editorial Magazine and Documentary Magazine. Her short film Nine Easy Dances played at Visions du Réel, Dokufest Kosovo, DOK Leipzig, the RIDM, and others, garnering her two Best Director awards. The film was nominated for Best Short Documentary by the International Documentary Association in 2024. She continues to work with researchers at York University, and as a filmmaker-mentor with Wapikoni Mobile. Luisa Greenfield is a Berlin-based visual artist working predominantly with analog film and essay writing. She holds a PhD in Art and Media. Her practice-based research considers film a form of thought that can offer resistance against an accelerated, future-oriented perception of history. Her recent 16mm film works, which she screens internationally, come from a close study of Danièle Huillet and Jean-Marie Straub’s films. She is an active member of the LaborBerlin analog film collective, a co-editor of the book Film in the Present Tense (Berlin: Archive Books, 2020), and an essay contributor to books and journals on film and artistic research. Erica Sheu/徐璐 makes short films, expanded cinema, and installations with small-gauge celluloid film. Her short films explore the synesthetic qualities of memory, guided by feelings and emotions. The themes include languages, diary films, pure cinema, cathartic handwriting, cross-generational memories, Taiwanese history, and identity politics. Kimberly Forero-Arnías (she/ella) is an experimental animator whose work has screened across the United States as well as internationally at festivals including Rotterdam, Ann Arbor, Images Festival and the Edinburgh International Film Festival. She is the recipient of various awards including the SMFA Traveling Fellowship, Massachusetts Cultural Council Fellowship and the Film Studies Center Fellowship at Harvard. Isaac Sherman is a filmmaker, projectionist, composer and performer currently living in Los Angeles, California. His film work is informed by direct engagement with the medium; dissecting frames, manipulating and obscuring the lens, rephotographing, and hand processing. He focuses largely on his immediate surroundings, preferring subjects and topics that feel inherently close. His work has been exhibited at festivals including Prismatic Ground, Engauge Film Festival, Chicago Underground Film Festival, Ann Arbor Film Festival, Crossroads, Milwaukee Underground Film Festival and more. An acclaimed animator, Eli Noyes, Jr. (October 18, 1942–March 23, 2024) directed 10 animated films and made creative contributions to 11 television series. He is known for his film Clay or the Origin of the Species (1964), which was nominated for an Academy Award for Best Animated Short Film and established claymation as a medium. Noyes is also recognized for his artistic contribution to the acclaimed TV series Sesame Street. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/2f9ed2ab-6bbb-4f85-b375-a91ece5f1451/Taylor_Rennie_Spinning_Super+8_2019_Still_2.jpg 2025 Program 6 Spinning Rennie Taylor 2019 | 2 minutes | Canada | Super 8 | color | silent A self-portrait performance capturing a symphony of perfect chaos. Spinning is inspired by the dizzying camera movements exemplified in John Porter's Cinefuge 4 (1980), and the avant-garde cemetery scene in Sergio Leone's The Good, The Bad and the Ugly (1966). -RT https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/22a4bede-f1b9-4e06-bbf6-fb1cbac4e6b3/This+Person+Still+3.jpg 2025 Program 6 This Person Nora Rosenthal 2022 | 5 minutes | Canada | 16mm | color | sound A film poem about a private person and their lover, who keeps getting distracted trying to reconcile the cognitive dissonances of desire under capitalism. -NR https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/624cce74-b8af-46c4-affd-1de8f15a9367/Sandman+Screenshot.png 2025 Program 6 - Make it stand out Sandman Eli Noyes 1973 | 4 minutes | USA | 16mm | color | sound A short film animated entirely with sand. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/1a77c85f-dd1c-46cc-8576-558d69eea4c0/Screenshot+2025-04-06+at+4.00.11%E2%80%AFPM.jpg 2025 Program 6 - Make it stand out Clay, or, The Origin Of Species Eli Noyes 1965 | 9 minutes | USA | 16mm | b&w | sound Eli Noyes made Clay, or, The Origin Of Species as an undergraduate at Harvard. The film — which received an Academy Award nomination for Best Animated Short Subject — reestablished claymation as a medium of interest, paving a direct path of inspiration for the major studio films animated with clay that were to follow. The film traces the rise of life on earth from primordial ooze to the present day. https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/19f7deb1-02d9-45e8-a42f-67a9a60be593/Copy+of+birthdaysong_ericasheu_01.jpg 2025 Program 6 birthday song Erica Sheu/徐璐 2021 | 4 minutes | USA/Taiwan | 16mm | color | sound Notes for a film about birthday are deconstructed, cropped and stuck to clear film leaders to project in loops. As if an endless umbilical cord pulling out from a womb, this "interior scroll" is filled with unrecognizable writing that becomes simply moving images continuing to advance. -ES https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/76bfbc7f-d1a4-46da-8b71-687a55060db9/a+shifting+pattern_still+7.jpg 2025 Program 6 a shifting pattern Isaac Sherman 2024 | 6 minutes | USA | 16mm | color | sound A collected geography of local flowers; appearing, disappearing, reappearing. Afterimage becomes before-image, physiology and pathology at play. An ode to the neighborhood, an entrapment that offers small moments for escape. The will to walk aimlessly is rejuvenated as stasis turns to movement and back again. -IS https://images.squarespace-cdn.com/content/v1/58042c925016e1b3e34a6214/f238740c-d1c0-450e-a591-7d4e5175a86e/Zwillinge_musicbox_still.jpg 2025 Program 6 Zwillinge Luisa Greenfield 2024 | 11 minutes | Germany | 16mm | color | sound A well-known new music composer sends encouraging words to radical young filmmakers and writes a piece based on the Zodiac for wind-up music box. Filmed on 16mm with direct sound, Zwillinge draws on rituals of memorial and repetition to reflect on the degradation of institutions through political influence. -LG