Cinestar artists' film programme
Friday 13th, 12:00 - 18:00 & Saturday 14th, 11:00- 17:00
Cinestar presents a rolling programme of short films made by artist filmmakers from the SW of England, generated on 8mm, 16mm and 35mm film.
Venue: Back Lane West, 9 Back Lane West, Redruth
FREE
Cinestar presents a rolling programme of short films made by artist filmmakers from the SW of England, generated on 8mm, 16mm and 35mm film.
Venue: Back Lane West, 9 Back Lane West, Redruth
FREE
Unsettled- Mike Davies, 3’31’’, sound, b&w, 2013
The film is set in a post apocalyptic landscape. A man only survives through wearing protective gear and shelters against the static within a hut made of credit cards. Sci-fi and Surrealist elements portray, the often hard to define, unease of our current way of living and a longing for something that we used to be a very long time ago. A motif of this memory is given to us as the carved hunter sculpture buried underneath parking tickets within a kitchen drawer, that the character ultimately finds. Shot on B+W Kodak Tri-X film on a Canon 514XL Super 8 camera Starring: Barnaby Lee. |
Encountering Severance, Threshold and Return in Plymouth Sound- Rachael Allain, 3’17”, mute, b&w, 2014
Encountering Severance, Threshold and Return in Plymouth Sound is a three-part 35mm silent film created during voyages on the Falcon Spirit catamaran. The first part represents the initial phase of Severance. Embarking from the quay at Queen Anne’s Battery in Plymouth, leaving the known and going on a journey of discovery and uncertainty. The second phase signifies the Threshold, experienced in a myriad of manifestations; moving under the Tamar Bridge, of the journey forwards and back. The bridge is a significant juncture, where one county meets another, an environment where the fresh water of the river meets the sea. The final phase, the Return is a single exposure depicting a calm sea passing Drake’s Island on the way back to land. Following the Return, the liminal phases then repeat themselves, experienced through different expressions during the film processing, developing and animating stages all of which hold no certainty or promise of a return. Shot on 35mm Fomopan Black/white reversal film for stills camera, hand processed. |
JUL 1971- Guy Edmonds, 3’23’’, mute, b&w, 2011
The film shows some of the last flights of Concorde over London in 2004. It was shot on 16mm Kodachrome II stock which had officially expired in July 1971 at around the time at which Concorde was making its first flights. By the time the film was exposed it could no longer be developed as a colour reversal film but only as a black and white negative. In 2011 I made a print from this negative and added a ‘title sequence’ which details the film’s provenance. |
Maelstrom: The Return- Stuart Moore and Kayla Parker, 1’56’’, sound, colour, 2014
Mysterious upwellings and whirlpools of the turbulent waters of Devil’s Point, Plymouth, combine with cinematic memories of long-forgotten arrivals and departures at this place. Commissioned by Centre for Moving Image Research, University of the West of England, and Royal West of England Academy, Bristol. Supported by a CMIR-RWA Moving Image Art Bursary. 8mm footage courtesy of South West Film and Television Archive |
Folie à deux- Laura Philips, 3’21’’, sound, b&w, 2015
A short film experiment, looking at the performative nature of suggestion and behaviour. Imagery - 16 mm photogram collages from found footage and a reoccurring motif of a digital overlay. Sound - Cut up monologue from Milton H Erickson, Hypnosis Demonstration Tape. 16mm B&W ORWO PF2 Print Stock, & HD Video Laura Phillips is an artist based in Bristol and is a studio member of BEEF, (Bristol Experimental & Expanded Film). |
Holding the Viewer- Tony Hill, 1’15’’, sound, colour, 1993
Holding the Viewer is a cinematic roller-coaster ride at the hands of a performer who is literally holding the viewer/camera on the end of a pole. Swoop above his head on a rooftop then fall to his feet. Watch him strain to lift you up and swing you around. Balanced precariously above his head as he hurries to get back, white rabbit style, before the magic wears off. Shot on 16mm |
A Short History of the Wheel- Tony Hill, 1’15’’, sound, colour, 1992
A Short History of the Wheel is an exercise in visual relativity in the form of a journey through time and space with the wheel. Starting with a primitive hand-drawn cart, the wheel travels through horsepower, machine age tractor and car to the ultimate wheeled transport, the bicycle. Shot on 16mm |
Dear Marianne- Mark Jenkin, 6’12’’, sound, colour, 2015
“I was hungry for the coast again and took a bus down along the R675, getting off to walk a while between Annestown and Dungarvan. The cliffs are imperious here and look just like home…” A Cornishman’s travels in Ireland, through the counties of Wexford, Waterford and Cork in search of the familiar. Shot on Super 8 colour reversal film stock and produced according to the rules of the Silent Landscape Dancing Grain 13 Film Manifesto. |
No.60- Stacey Guthrie, 2’56’’, mute, b&w, 2015
No 60 was made in response to a house which had remained undecorated since the 1970's. Super 8 footage was taken of various aspects of the house and hand processed in caffenol. The film became damaged during the process but the resulting images mirrored the sense of damage, neglect and 'ghosts' of the previous life of the house and became an integral part of the film. Super 8 film processed in Caffenol. |
Léthé- Harald Hutter & Alex Nevill, 12’03’’, sound, colour, 2014
Léthé follows a man with no apparent destination until a chance encounter with a strange young girl sets in motion a series of events that will challenge his perception of reality. The film is an invitation to go astray; an invitation to forget one’s self and embark with our vagrant protagonist as he searches to forget his past. le・the (lē ′thē) n. 1. Lethe Greek Mythology. The river of forgetfulness, one of the five rivers in Hades. 2. A condition of forgetfulness; oblivion." Léthé was shot on Super 16mm and cropped in post production. Film stock used: Fuji 250D and 64T, push processed by around two stops to create the distinctive look. |
The Falls- Janet McEwan, 3’45’’, sound, b&w, 2015
Retracing a walk I made often as a child in Scotland, along the ‘Bonnie Bank’s of Clyde’, passing four waterfalls, from Bonnington Linn Dam to Lanark Hydro Electric Power Station (the first in Scotland) and on to the remains of an early model of utopian socialism; New Lanark Milltown, documenting the journey with my newly acquired vintage Super 8 camera and a digital sound recorder. Super 8 processed in Caffenol |
Should I Stand Amid Your Breakers Or Should I Lie With Death My Bride- Marcy Saude, 4’30’’, sound, colour, 2012
A line from a Tim Buckley song spawns an extremely literal film. Figures in a haunted landscape, mediated by nature and the individual frame, accompanied by field recordings from a broken tape recorder. Shot on Super 8 |
Cross Stream Roundtrip- Joanna Mayes, 3’32’’, sound, b&w, 2014
Cross Stream Roundtrip is a collaboration with jazz musicians Michelson Morley in which film is used to record the physical details and gestures in the relationship between the musicians and their instruments. Hand processing creates unexpected physical interventions; especially appropriate to a musical practice, which is based on improvisation. Shot on 16mm and hand processed using Caffenol |