Madi Piller Workshop. ‘Film: Formas y revelaciones’

Friday May 31th, from 11am to 2pm and from 4pm to 8pm
& Saturday June 1st, from 11am to 2pm and from 4pm to 8pm
Number of places: 8
Registration: writting to [email protected]
Price: € 80
Schedule: 11am to 2pm and 4pm to 8pm
Place: XIZ Montealto (C / Santa Teresa, Nº10, Bajo 15002, A Coruña)

Madi Piller, a peruvian artist who lives in Canada, has been “hands-on” for two decades, working directly and intimately with the film, and exploiting all its qualities through different ways. She has shaped a multitude of works with direct action on the film strip (from films to performances): a practice that will be disseminated through this workshop that will invite to generate a collective piece as if it was a film performance.

In this workshop, we will manipulate used footage (in 35mm and 16mm), found or expired, which will be transformed with chemical and organic materials, painting, cutting, or ripping. The workshop also includes a special part dedicated to sound, in which we will use the optical sound of 16mm projectors: every image contains a sound, which will also be manipulated in different ways.

With the resulting works in 16mm, and with the digitalisations of the manipulated 35mm, a collective performance will be built. This performance will be shown on Sunday, June 2 at 7:00 pm in the Sala (S8) PALEXCO.

Phil Hoffman. Living / Filming

Imaxe: Phil Hoffman. Intro

Watching Phil Hoffman’s films, it seems that living and filming are the same thing. Hoffman has managed since the beginning of his career (he started in the seventies) to master the art of the filmed diary, making sincerity and emotion combine perfectly with form. Born in 1955 in Kitchener, Ontario, Hoffman holds a prominent place in the rich scene of Canadian experimental filmmaking, not only as a filmmaker but also as the driving force behind an educational project that has marked the lives and ways of doing of many other filmmakers since he started in 1994: Film Farm. A sort of collective “spiritual retreat” or “summer camp” for filmmakers in which personal and experimental projects are carried out in film format, and with handcrafted and ecological development techniques. info

Open call for Philip Hoffman’s workshop: Film Farm on the Road

Imagen: S8

Every year in summer, between the greenery and the rivers of Mount Forest (Ontario, Canada), a unique retreat for filmmakers, created and promoted by Philip Hoffman, has taken place since 1994. In the Film Farm, a sort of summer camp for handmade cinema, people film, process and share their knowledge during a week, in an open context where self-sufficiency prevails, back to mainstream laws and supporting the peripheral creators. In this edition of (S8) the Film Farm travels to Coruña with Hoffman, who will give a four-day workshop under the philosophy of what he calls the Process Cinema. With 16mm film as guide medium, and processing with ecological materials such as wildflowers and seawater, we will enjoy some unique days hand in hand with one of the essential figures of Canadian artisanal and diarist cinema.

Venue: La Nautilus (Plaza de Azcárraga 7, ground floor, A Coruña)
Dates: from June 5 to 8
Timetable: from 11 to 14 and from 15 to 20 hours
Number of seats: 8
Price: 150 (all the material included)
Requirements: the workshop will be held in English. Participants are asked to bring, if possible, their laptops with editing softwar
Registration: until Monday, June 4 at [email protected]

SCHEDULE

June 5 Tuesday
11am to 2pm
Intro to Process Cinema: collect, reflect, revise
(According to Hoffman, Process Cinema “explores a creative tradition in alternative filmmaking that is improvisational and interactive. Through this process-driven methodology, the screenplay as governing document is replaced by a fluid integration of writing, shooting and editing, not necessarily in that order.This way of working ‘through’ process has a comparative body of work in music, through jazz, in art, through ‘action painting’, in the performative aspects of the sketchbook or through ‘spontaneous prose’ in beat poetry.”)

Screenings  & Discussion

3pm to 8:00pm
Intro to Bolex 16mm camera handling
Lighting & exposure
Hand processing techniques (conventional & `green processing’)
Test shooting in groups with the Bolex
Processing Workshop
Transfer from 16mm test film to digital

June 6 Wednesday
11am to 2pm
Screening: previous day shooting
Celluloid as a canvas: tinting/toning & painting on found footage
Image manipulation
Screenings and discussion on films

3pm to 8pm
Distribution of equipment
Shooting projects
Film processing
Film tinting/toning & painting
Transfer from film to digital

June 7 Thursday
11am to 2pm
Screening of participants’ in-process films

3pm to 8pm
Shooting of projects
Film processing
Film tinting/toning & painting
Transfer from film to digital
Projects edition

June 8 Friday
11am – 2pm
Meeting to plan presentation
Screening of films in process

3pm to 8pm
Film tinting/toning, painting and manipulation
Transfer from film to digital
Final editing of projects

FINAL SCREENING

*Schedule does not include all activities and content

Mini (S8) Workshop
The expanded image. Film Laboratory and Audiovisual Experimentation

Two mornings of experimentation and audiovisual creation covering in a practical and fun way
key elements of the audiovisual language, in a workshop for children aged 7 to 12 years.

Using analog and digital projection devices, with the help of lenses, magnifiers and flashlights, we will discover the magic and fascinating power of cinema. Thanks to the filmmaker Xisela Franco (http://www.xiselafranco.com/) and the audiovisual artist Juanma LoDo (http://juanmalodo.eu/) we will invent games of shadows, we will create our own audiovisual contents: frames with clippings and we will animate them, we will play with light and with all kinds of animate and inanimate objects. All this will be recorded with digital video recording devices (DSLR camera, camera-phone, HD webcam…) and we will project it again to move ahead in the process of creating new languages ​​and audiovisual narratives.

So in the course of this fast and hallucinatory trip we will know some pre-cinema toys,
we will discover chronophotography with the experiments of Muybrige and Marey, or we will sample the primitive cinema (Alice Guy, Lumière brothers, Méliès). The next step will be to discover the magic of edition (Kulechov, Hitchcock), to experience the association of images that creates senses. And finally we want to elucidate the possibilities that the arrival of the sound meant. To make this journey more interactive in search of the secrets of the fascination of cinema, we will use cybernetic and digital technology, and alternate different software so that the computer will become the final catalyst for our own images, sounds and sensations.

VENUE: Luis Seoane Foundation, San Francisco Street, 27, A Coruña.
SCHEDULE: Saturday, May 27 from 11 AM to 2 PM / Sunday 28 May from 12 AM to 2 PM
REGISTRATION: At the email address [email protected] heading “Mini (S8) Workshop“ in the subject line of the message. Limited places.
PRICE: € 10

Cine mudo para niños y niñas: Lotte Reiniger

Este domingo a las 12:00 h en la Antigua Cárcel el (S8) da espacio a una sesión muy especial. Se trata de un taller, impartido por Maria José Rueda, en el que todos los niños que se acerquen por la Mostra podrán descubrir a través de diversas actividades lúdicas y didácticas, el mundo de la pionera de la animación Lotte Reiniger. Al taller le seguirá una sesión familiar con las películas de Reiniger que de seguro conseguirá hechizar tanto a niños como a mayores. Sus animaciones, hechas de manera artesanal con siluetas recortadas que Reiniger fabricaba con maestría, nos llevan por exóticas historias llenas de aventuras y de misterio, protagonizadas por criaturas fabulosas, príncipes, alfombras mágicas y paisajes imposibles.

Reiniger empezó a hacer películas en 1919, y no dejó de hacerlas en toda su vida, en todo un periodo que abarca 60 años. Cuando el cine era aún un arte relativamente joven, Reiniger fue una de las primeras artistas que llevaron la animación un paso más allá, con un trabajo de abrumadora belleza y lirismo, además de una personalidad desbordante.  Ya adolescente, Lotte era una apasionada de las marionetas y del cine de Meliés. Consiguió convencer a sus padres para que le permitieran entrar en el grupo de teatro de Max Reinhardt, al que pertenecía Paul Wegener, creador de El Golem. Cuando confeccionaba siluetas en papel de los otros actores del grupo en sus respectivos papeles llamó la atenación de Wegener, con quien trabajaría realizando los subtítulos de la película Der Rattenfänger von Hameln (“El flautista de Hamelín”). Gracias al éxito de su trabajo y a la recomendación de Wegener, consiguió ser admitida en el Institut für Kulturforschung (Instituto de Innovaciones Culturales), un estudio berlinés dedicado a las películas de animación experimentales. Allí realizó su primera película de siluetas, El ornamento del corazón enamorado (1919), la primera de una larga lista en la que sobresale Las Aventuras del Príncipe Achmed, largometraje que le llevó tres años enteros de trabajo estrenado en 1926. Además de llevar a cabo el trabajo paciente de la animación, mantuvo lazos estrechos con los círculos culturales del Berlín de la época: creó el decorado de algunas representaciones en el teatro Volksbühne, conoció a Bertold Brecht y rodó varios cortos publicitarios, además de la infinidad de películas infantiles que creó, y las adaptaciones de diversas óperas. De su film Papageno (1935), Jean Renoir dijo que era el mejor equivalente óptico a la música de Mozart.

Parte de la fuerza de la obra de Reiniger consiste en que, de alguna manera, la evidencia del trabajo hecho a mano resalta aún más la cualidad mágica que lleva en sí un arte como el de la animación. Parece una cuestión de alquimia, prácticamente, el hecho de que unas cartulinas recortadas, objetos inanimados, puedan cobrar vida con la riqueza expresiva de las películas de Reiniger. Preocupada más por la creatividad que por la técnica, su cine sigue la estela del arte milenario de las sombras chinescas. En las antípodas de la estética relamida de Disney, sus films muestran el nervio de la animación en historias que ejercitan la imaginación, y la hacen galopar por misteriosos parajes como si fuese a lomos del caballo mágico de príncipe Achmed.

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