Event
Re|Frame: Optically Printed Films from the Canyon Cinema Collection [In-Person Only]
Sat Jun 25: 8.00pm PDT
$13 General Admission
$10 Student/Child/Senior
$7 Member
*** Public safety notice ***
NWFF patrons will be required to wear masks that cover both nose and mouth while in the building. Disposable masks are available at the door for those who need them. To be admitted, patrons ages 5+ will also be required to present either proof of COVID-19 vaccination OR a negative result from a COVID-19 test administered within the last 48 hours.
NWFF is adapting to evolving recommendations to protect the public from COVID-19. Read more about their policies regarding cleaning, masks, and capacity limitations at bit.ly/nwffcovidsafety
On Film
** An all-16mm program, curated by Interbay Cinema Society **
The optical printer is a machine that allows filmmakers to re-photograph their films and change them in a number of ways, including changing the timing, cropping the image, blowing up the image (from Super-8 to 16mm, from 16mm to 35mm, etc), double-exposing or bi-packing the image. As filmmakers ourselves, we have used the optical printer extensively in our own practices. Interbay Cinema Society is thrilled to present this sampling of optically-printed 16mm films from the Canyon collection. (Curators Jon Behrens & Caryn Cline)
Film program:
Arapadaptor (I Feel So)
Arapadaptor (I Feel So)
Anna Geyer | color/sound | 5 min. | 2003
Arapadaptor (I Feel So) is an abstract film of mostly found sound and cameraless images. Most of the source material was unwittingly supplied by a Chinese herbalist. To produce Arapadaptor I applied my flashlight and laser, a la Man Ray, to the caterpillars, cicadas and seeds of the herbal packages, and this was only the beginning. Much of the original footage was further manipulated painted, tinted and/or bleached. Finally, the images were rephotographed, slowed, through the use of an optical printer.
Incantation
Peter Rose | color/sound | 8.5 min. | 1971
Using rapidly edited, superimposed images of plants, trees, water, the sun, and the moon, Incantation weaves a dynamic tapestry of organic forms and textures, combining its images with a fierce rhythmic intensity so as to suggest a kind of natural force. The film was shot entirely in 8mm, in camera, according to a pre-arranged score, and then blown up to 16mm using a homemade optical printer. The accompanying soundtrack, a chant taken from Islamic liturgy, is breath-based, as is much of the underlying structure of the image, and brings the film into the form of a prayer.
massive and lovely Roger Greenspun, The New York Times
Black Ice
Stan Brakhage | color/silent | 2.5 min. | 1994
I lost sight due a blow on the head from slipping on black ice (leading to eye surgery, eventually); and now (because of artificially thinned blood) most steps I take outdoors all winter are made in frightful awareness of black ice.
These meditations have finally produced this hand-painted, step-printed film.
Out of the Ether
Out of the Ether
Kerry Laitala | color/sound | 11 min. | 2004
Brilliant found-footage film about extraterrestrial aliens, fear and microbes. International Film Festival Rotterdam.
Out of the Ether re-assembles disquieting images from decades-old hygiene and science films, merging them with the filmmakers own Bolex camerawork. It was re-photographed on the optical printer, toned and tinted to bring out pulsating hues of oozing greens and yellows.
Throbs
Throbs
Fred Worden | color/sound | 7 min. | 1972
Fred Wordens magical CalArts thesis film collages all manner of spectacle (car crashes, football, circus, television) into a hypnotic and dream-like reverie that feels somehow personal, as if a revisited catalog of images that might once have given him delight in his youth. The eclectic source material, woven together with genuine and unexpected beauty on the optical printer, moves from refrain to refrain with a fluidity that suggests a free-associating cinematic consciousness, a momentary pause in the now on the then. (Mark Toscano)
Restored print by the Academy Film Archive.
My Good Eye
Alfonso Alvarez | color/sound | 4 min. | 1995
Kinochestvo is the art of organizing the necessary movements of objects in space as a rhythmical artistic whole, in harmony with the properties of the material and the rhythm of each object. From WE: Variant of a Manifesto (Dziga Vertov, 1922)
Kinodelic is the art of organizing the necessary movements of color film stock through the optical printer in harmony with the internal rhythm in the music of Jimi Hendrix. From US, A Variant of a Variant (Alva, 1995)
Cowboys Were Not Nice People
Larry Kreiss | color/sound | 8 min. | 1990
History paints a heroic picture of the so-called cowboys of history. Using the hero as a metaphor to question his validity, Cowboys Were Not Nice People is an attempt to break down the solid foundation upon which myths of modern society are based.
Composed entirely on the optical printer, the film involves rhythmic editing and montage sequences of found footage and camera original exploring the mythical frontiers of Western culture and the romanticism of colonialism.
Reframe
Reframe
Nazl Dinçel | color/silent | 4 min. | 2009
Eight stereoscopic slides taken to the JK-104 optical printer, shot frame by frame. This is the first hand-processed color film Ive made. The slides were found at a thrift store in Milwaukee, WI in 2009. They are of Cuba between 1948 and 1950, taken by an army officer while accompanied by his family. Their touristic gaze is reclaimed, by fragmenting their photographs into new possibilities of the frame, and reviving the bodies that may have perished by the revolution in 1952.
Fever
Paula M. Froehle | color/sound | 6 min. | 1998
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.
Fever is the latest installment in a series of films short poetic pieces exploring personal experience as well as the integration of image, text and sound on the screen. Experimental in form, they are visual poems integrating poetic structure with image and sound to develop an experience not quite like film, not quite like poetry, not quite like sound art, but a hybrid of these forms. The other films in this series include Flicker (Unsteady Motion) and Spitting Image. Funding: City of Chicago Department of Cultural Affairs.
Read more
Sleeping Dogs (Never Lie)
Pat ONeill | color/sound | 9 min. | 1978
The day they filled all that gravel in front of Jack and Jerrys old studio on Venice Blvd.
A yellow bird fascinated by reflection.
Several views from the San Francisco Marine Museum on a gray day in December.
Three views of Mercer Street, New York after the second big snowstorm of January, 78.
Several fogs, a strange puddle, and a female Husky induced to howl by humans.
(This film is perhaps best seen after one of the others, like a chaser.)
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LocationNorthwest Film Forum (View)
1515 12th Ave.
Seattle, WA 98122
United States
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Ticketing, concessions, cinemas, restrooms, and our public edit lab are located on Northwest Film Forum's ground floor, which is wheelchair accessible. We have a limited number of assistive listening devices available for programs hosted in our larger theater, Cinema 1. These devices are maintained by the Technical Director, and can be requested at the ticketing and concessions counter.
The Forum does NOT have assistive devices for the visually impaired, and is not (yet) a scent-free venue. Our commitment to increasing access for our audiences is ongoing, and we welcome all public input on the subject!
If you have additional specific questions about accessibility at our venue, please contact our Executive Director Cara Mia Harris at caramia@nwfilmforum.org
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