#SEAPAVAA

[audiovisualheritageday]

Retrospective: Seijun Suzuki.

Retrospective is a regular series showcasing bodies of work from an extended period of activity by filmmakers of different eras.

Devoted to the region’s film history, contributions and movements within the industries in Asia, the platform focuses on particular profiles, themes and aesthetics to allow audiences to experience past and ongoing cinematic transformations.

On the occasion of 100 years since the birth of singular Japanese director Seijun Suzuki (1923-2017), the Asian Film Archive presents a selection from his vast and colourful filmography.

The seven featured films draw attention to two significant points in Suzuki’s career. The first looks at the gritty, rambunctious crime and gangster films he made at the Nikkatsu studios in the 1960s and his collaborations with action star Jo Shishido. The four works selected from this period start from 1963, with the wild and uproarious Detective Bureau 2-3: Go to Hell, Bastards! and Youth of the Beast—the latter regarded as his breakthrough work and a key influence on the yakuza genre. 1964’s Gate of Flesh is a harsh, yet visually dynamic post-war drama. Lastly, the outrageous and stylish Branded to Kill (1967), notorious for causing Suzuki’s dismissal from Nikkatsu and subsequent blacklisting by the industry.

Making his debut in the mid-50s, Suzuki was a contract director for B-movies, quick and cheap flicks typically screened after the more expensive, prestige pictures. He overcame the gruelling conditions and meagre resources thrown at him, creatively transforming conventions into opportunities for play and experimentation, pushing the form further and further with each new film. Burned by the fallout with Nikkatsu, Suzuki withdrew from cinema. He continued to work in television and only returned to film a decade later.

The second part of this programme represents Suzuki’s comeback with the Taisho trilogy: Zigeunerweisen (1980), Kagero-za (1981) and Yumeji (1991). Produced independently, these works are loosely connected by being set during the Taisho era (1912-1926), an explosive period of artistic and intellectual activity in Japan’s history. Hallucinatory, spectral and dreamlike, these austere masterpieces—markedly different from his earlier career—are nonetheless still bursting with ideas and cinematic fervour.

Energised by the commercial and critical success of his later works, Suzuki continued to make films until the mid-2000s and even had a career as an actor. In 2017, he passed away at the age 93. The legacy of Seijun Suzuki’s body of work is that of an artist whose brilliance and verve could not be restrained. Working within the limitations of structures, his career represents a lifelong mission to reinvent the ecstatic possibilities of the filmic medium.

– Viknesh Kobinathan, Programmer

Retrospective: Seijun Suzuki runs from 6-22 October 2023 at Oldham Theatre. This programme is held in conjunction with Japanese Film Festival Singapore, with support from the Japan Foundation.

Asian Film Archive (affiliated to AMIA, FIAF, SEAPAVAA)  Retrospective: Seijun Suzuki. 06-22 October 2023 National Archives Singapore 1 Canning Rise Singapore 179868 Singapore, Singapore

[lcurham]

SEAPAVAA poster - expanded cinema in the Asia Pacific

There’s a book from 2017

Jurriëns, Edwin. Visual Media in Indonesia : Video Vanguard. Abingdon, Oxon: Routledge, an imprint of the Taylor & Francis Group, 2017. Print.

There is an exhibition catalogue for this work By Krisna Murti https://www.youtube.com/@TheKrisnart

Learning to queue up to the ants (status queue) = Belajar antri kepada semut : performance video installation, Soemardja Gallery-Bandung Institute of Technology, December 10-23, 1996.

https://www.cobosocial.com/dossiers/krisna-murti-interview/

Experimental Film Forum in Singapore https://expcinema.org/site/en/directory/experimental-film-forum

2010 A new festival is born in Singapore. The first edition of Experimental Film Forum, subtitled 'Experiments in progress...' will be held next May 20-23 at the Substation Theatre. Highlights include a programme of local experimental films curated by filmmaker Victric Thng with emphasis on the work of Tania Sng; a workshop and screening on S8 films directed by Russel & Gozde Zehnder; a panel on the history of experimental films in Southeast Asia, the recent spate of experimental films and the direction of experimental cinema; and a symposium on distribution and the 'Human Frames' project by Lowave co-founder and filmmaker Silke Schmickl.

https://www.objectifs.com.sg/experimental-cinema-in-southeast-asia-panel-discussion/

EYE Film conference 2022

Umi Lestari - Indonesian cinema scholar

Kultursinema as a method - Mahardika Yudha - program in Arkipel - Jakarta Intl Doc and Experimental Film Festival - Arkipel due May

Southeast Asia film festival Thailand December https://www.southeastasiafilmfestival.com/

2017 - experimental film in Manila

https://www.gmanetwork.com/news/lifestyle/artandculture/600799/fdcp-s-xperimento-pelikula-to-screen-13-experimental-films-for-free/story/

FDCP’s Xperimento Pelikula to screen 13 experimental films for free - Xperimento Pelikula" curates 30 years of avant-garde works from Miko Revereza, Melchor Bacani III, Rox Lee, Ramon Jose "RJ" Leyran, John Torres, Yason Banal, Tad Ermitano, Raya Martin, Tito & Tita, Martha Atienza, Jon Lazam, Cesar Hernando, Eli Guieb III, and Jimbo Albano.The films were made in workshops held by the Mowelfund Institute and Goethe Institut Manila in the '80s and '90s, which Shireen Seno of Los Otros and Merv Espina of Generation Loss sifted through.

Los Otros, building experimental film in the Philippines

https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/interviews/los-otros-shireen-seno-john-torres-interview-experimental-film-community-philippines

Asian Film Symposium https://www.objectifs.com.sg/afs2015/

Singapore, Substation

Video art histories south east Asia 

https://asialink.unimelb.edu.au/arts/resources/stories-and-insights/the-rise-of-video-art-in-east-asia

Refocusing on the Medium: The Rise of Video Art in East Asia at OCAT Shanghai, assembled 25 works from key protagonists in video art from Japan, Korea, Taiwan, Hong Kong, and mainland China. 

OCAT Shanghai, 27 December 2020 – 21 March 2021Artists

Katsuhiro Yamaguchi, Nam June Paik, Yoko Ono, Keigo Yamamoto, Kim Kulim, Takahiko Iimura, Shigeko Kubota, Park Hyunki, Soungui Kim, Wang Gongxin, Ellen Pau, Chen Shaoxiong, Geng Jianyi, Zhu Jia, Yuan Goang-Ming

Curator

Kim Machan (Director, Media Art Asia Pacific MAAP Brisbane)

Publication date: May, 2021, commissioned by Asialink Arts.

https://www.maap.org.au/collaborator/kim-machan-2/

Bangkok experimental video https://en.bacc.or.th/archive/336.html

Running for a long time, curator Komson Nookiew

https://knookiew.blogspot.com/

Asst Prof Komson Nookiew Fine Art Department,
 King Muangkut's Institute of Technology, Ladkrabang, Bangkok


Experimental film festival 2012 beff https://expcinema.org/site/en/directory/bangkok-experimental-film-festival

[hoicodo]

'Lưu trữ nghe nhìn trong thời đại thay đổi'

'Lưu trữ nghe nhìn trong thời đại thay đổi'

Ngày 23/6, Hội nghị Hiệp hội các Viện Lưu trữ Nghe Nhìn Đông Nam Á – Thái Bình Dương (Hội nghị SEAPAVAA) lần thứ 25 với chủ đề “Lưu trữ nghe nhìn trong thời đại thay đổi” đã chính thức khai mạc tại Viện Phim Việt Nam (số 523 phố Kim Mã, quận Ba Đình, Hà Nội). Nhiều tư liệu hình ảnh động về đất nước, con người Việt Nam thu hút người xem. Ảnh: hanoimoi.com.vn Hội nghị diễn ra theo hình thức trực…

[phgq]

Belina SB Capul and her 30 years of safeguarding PH audio-visual heritage

#PHinfo: Belina SB Capul and her 30 years of safeguarding PH audio-visual heritage

PIA's Belina SB Capul (C) receives the prestigious Titus Brandsma Award during the event held at the SM Sky Dome in Quezon City, Monday. (PIA NCR)

In continuing the story of film archiving in the country, one of the Philippine Information Agency’s very own has been recognized and given that distinct honor for her role in establishing this advocacy, despite the odds.

Ms. Belina San Buenaventura Capul was the latest recipient of the prestigious Titus Brandsma Awards Philippines for Leadership in Communication, Culture and Arts. 

Titus Brandsma Award is a biennial award given to individuals and groups especially to journalists in print and broadcast media who have exemplary lived-out the virtues of Blessed Titus Brandsma, a Carmelite priest, journalist and educator who was martyred in 1942 in Dachau Concentration Camp for writing and defending the truth.

Capul’s work reflects a deep and binding sense of national pride, and a continuous quest for truth and justice, and empowerment and respect for indigenous cultures. She also stands as a fierce protector of the nation’s cultures, and careful preservation of artistic legacy. Her works remain a reflection of the values fought for by the blessed Titus Brandsma.

"I hope to be able to live up to the principles of Blessed Titus Brandsma."

“The task of safeguarding our audio-visual heritage is complex and requires collaborative effort among the relevant institutions involved. My particular role was to bring people and institutions together, create the necessary environment to enable the AV archivist to collaborate with each other to acquire the needed resources, and to elevate the regional concerns to the international level,” she said in her acceptance speech during the event held at the SM Sky Dome in Quezon City.

Over a span of her 30-year career, she closely safeguarded audio-visual materials for historical preservations, and education of future generations. She spearheaded the film restoration program of the Philippine Information Agency, and was keen to restore 17 Filipino classic films including the 1939 LVN films “Tunay na Ina” and “Giliw Ko” these films perhaps regarded as national treasures of the film industry.

“This award is not only significant to me personally but also to the AV Archiving Community which I serve. It provided a venue for recognizing the importance of audio-visual archiving in safeguarding our AV Heritage, which is fast being lost to posterity.

Capul also paved the way for the permanent inclusion of the Philippines key historical documents including the radio broadcast recording of the 1986 People Power Revolution at the UNESCO’s Memory of the World International Register.

She strengthened the profession of audio-visual archiving by leading the Association of South East Asian Nations’ Information Sector in setting up the Southeast Asia-Pacific Audio-Visual Archives Association.

Capul also fostered information and ultra exchanges among the ASEAN Member States and was recognized as the country’s focal person in the information sector, culture, and the arts by championing the preservation of integral Filipino traditional work and equipment and strengthening a deeper understanding of the Filipino culture among the ASEAN States.

She shares the honor with the different institutions and organizations she had worked with in the field, including the Society of Film Archivist (SOFIA) on the national level. On the regional level, she mentioned the ASEAN Committee on Culture and Information (ASEAN-COCI), South East Asia-Pacific Audio-Visual Archives Association (SEAPAVAA), and the country Australia, the ASEAN Dialogue Partner. While on the international level, she said she has UNESCO and the Coordinating Council of AV Archives Associations (CCAAA) to thank. 

Capul also recognized the PIA the agency she served until her retirement, former Cabinet Secretaries Sonny Coloma and Ambassador Delia Albert for their trust and confidence, and to Roger Carasig, for her nomination to the award.

Established in 2000, the Titus Brandsma Award is named after the patron of the Carmelite province in the Philippines.

Titus Brandsma was a martyred Dutch Carmelite friar, scholar, and journalist who was imprisoned during World War II for declaring the freedom of the press. He was beatified by St. John Paul II in 1985 and is recognized as a “Martyr of Press Freedom.” (PIA NCR)

***

References:

* Philippine Information Agency. "Belina SB Capul and her 30 years of safeguarding PH audio-visual heritage." Philippine Information Agency. https://pia.gov.ph/news/articles/1029396 (accessed October 29, 2019 at 03:48PM UTC+08).

* Philippine Infornation Agency. "Belina SB Capul and her 30 years of safeguarding PH audio-visual heritage." Archive Today. https://archive.ph/?run=1&url=https://pia.gov.ph/news/articles/1029396 (archived).

[taiwanesemoe-blog]

新文章已發布 Taiwanese.Moe 臺灣人

新文章已發布 http://taiwanese.moe/archives/825485

為台灣發聲！南藝大推動影像保存獲國際肯定

井迎瑞贈送南藝術大修復影片給前任SEAPAVAA主席Mick...

[audiovisualheritageday]

Monographs 2023.

Opening just before World Day for Audiovisual Heritage, the Asian Film Archive will be presenting the second edition of Monographs, presented in the form of an exhibition and film programme. The interactive exhibition will feature the commssioned video essays that make use of often, archival footage, and the film screening programme will consist of films related to the written essays, including The Cloud Capped Star (1960, Ritwik Ghatak). 

Monographs is a series of video and text essays on Asian cinema commissioned by the Asian Film Archive (AFA). Initially conceived during the outbreak of COVID-19 when physical screenings were disrupted, Monographs offers a critical platform for writers and thinkers to discourse upon the moving image beyond the walls of the cinema. The second edition of Monographs consists of 13 commissioned works—seven video essays and six written essays—produced in consultation with filmmaker/editor Daniel Hui and researcher/curator Matthew Barrington.

Responding to changing geological and socio-political landscapes, Monographs 2023: sinking, shifting, stirring interrogates how the environment, climate, and human and non-human relationships might be re-imagined. Evoking cycles of geological transformation, the anthology explores how cinematic representations of the environment move through cycles of dissolution, transformation and rebirth.

Asian Film Archive (affiliated to AMIA, FIAF, SEAPAVAA)  Monographs 2023. 26 October - 08 December 2023 Oldham Theatre, National Archives of Singapore Building, 1 Canning Rise, Singapore 179868 Singapore, Singapore.

[audiovisualheritageday]

Archiving The Pandemic Covid-19: Sejarah, Perjuangan, dan Harapan.

This is the Sixth Exibition by Pameran Arsip UGM.

This year, we are back with the theme “Archiving The Pandemic Covid-19: Sejarah, Perjuangan, dan Harapan”

You can join the Pameran Arsip UGM 2023 event without charge! FREE!

Vocational School Of Gadjah Mada University (affiliated to SEAPAVAA)  Archiving The Pandemic Covid-19: Sejarah, Perjuangan, dan Harapan. 30 October - 03 November 2023. Isorekso Hadiprojo Building, Vocational School Gadjah Mada University, Sleman, Yogyakarta.

[audiovisualheritageday]

Utaina: Preserving the Nation’s Audiovisual Heritage.

Utaina is a multi-year collaborative digitisation project between Archives New Zealand, National Library of New Zealand, and Ngā Taonga Sound and Vision to digitise over 400,000 items held in our audiovisual collections. Come hear about how we navigate our way through this once-in-a-lifetime opportunity to preserve and ensure ongoing access to this rich taonga!

Archives New Zealand, National Library of New Zealand, Ngā Taonga Sound & Vision (affiliated to FIAF, IASA, ICA, IFLA, SEAPAVAA) 

Utaina: Preserving the Nation’s Audiovisual Heritage. 26 October 2023. National Library Auditorium, 70 Molesworth Street, Wellington Wellington, New Zealand.

[lcurham]

Let’s talk about expanded cinema in the Asia Pacific - a short talk for SEAPAVAA 2023

TITLE Let’s talk about expanded cinema in South East Asia and the Pacific  

Author: Dr Louise Curham, Libraries, Archives, Records and Information Science discipline, iSchool, Curtin University

A talk for SEAPAVAA 2023

Abstract

SEAPAVAA 2023, Sustainable AV Archives for the Community

This proposal responds to the themes of

• Collection development of audiovisual collections for more diversity

• Community and participatory archiving involving audiovisual collections

Title of proposal: Let’s talk about expanded cinema in South East Asia and the Pacific

Presenter/proposer name: Dr Louise Curham, Libraries, Archives, Records and

Information Science, Curtin University iSchool

Presenter bio: Dr Louise Curham is a lecturer in LARIS at the Curtin University iSchool, teaching in the archives and records area. Louise joined the university sector in 2020 after two decades working in government information, community records and audiovisual collections. She has held AV preservation, policy and project-based roles at the National Archives of Australia (2002-2007; 2009-2019). Louise's research focuses on objects that elude meaningful digitisation.

Abstract

Art that involves moving image has been at the forefront of creative practice for decades. Some of the early experiments by artists using moving image comes from mixed media performance, using media like 16mm, super 8 film and reel to reel audio combined with live performance. This work is known to some as expanded cinema. What is the fate of work like this in South East Asia and the Pacific? Preservation people know collections intimately because we literally have to wind through them. Are there insights from the SEAPAVAA community about work like this?

This paper shares some insights from a six month dialogue about these practices in Australia and Aotearoa/NZ that took place in 2021 in preparation for a conference panel (Curham and Golding, 2021). Emerging from our dialogue was the reality that they suffer visibility problems.

This paper shares insights about those visibility problems and invites engagement from the SEAPAVAA community about mixed media performance work made in our broader region. Some of the potential causes of invisibility our panel teased out follow. Naming can hide: mixed media performance goes by many names, not just expanded cinema. Disheartenment can be a risk to continued access and preservation: artists who work this way have been part of vibrant and productive communities but those communities have waxed and waned along with a sense that the wider art community values the work. This means disheartenment is a factor, stopping artists making an effort to share and preserve their work over time.

Another factor is that this kind of moving image work is usually made in scenes - a work will be made to be part of a ‘night’ or an event. If the works on their own are archived, do they lose some of what made them significant in the first place? In other words, how do we archive a scene?

The 2021 panel also explored appropriate ways to tell this history as works emerge. It’s not a story where hierarchies and canons of celebrated works can best convey the vibrancy of these work and the scenes they come from. A way to tell this story that lets different power relationships and voices be heard is called for.

Reference:

Curham, L., & Golding, S. (Eds.). (2021). Let’s talk about expanded cinema, panel in the conference of the Art History Association of Australian and New Zealand. https:// www.aaanz21.live/panels1/panel-4

Talk:

Hi everyone. Thanks very much for inviting me to be part of SEAPAVAA 2023. I want to begin by acknowledging I’m joining you from the lands of the Ngunawal people, the Aboriginal traditional owners of this land I’m on in Canberra.  

SLIDE 2

I'm here to talk about expanded cinema. I've been making, investigating and talking about expanded cinema for two decades as an artist, audiovisual archivist and more recently, as a scholar. What is expanded cinema? Its name can be traced to the American book from 1970 by Gene Youngblood, Expanded Cinema. It can be described as performance involving moving image media which activates the space in front of the projector lens.

I’ve spent time finding out about Australian work but quite a lot of my effort has been focused on British expanded cinema. Works like these from the Global North are well known well understood and accepted, and increasingly, collected and archived. From my recent investigations, the situation in Australia and New Zealand is mixed, a situation I have a hunch is similar across our Asia Pacific region. That’s why I’m here to start a dialogue with you about these works.

In this short talk I’m going to explain why these works matter, I’m going to report back on 2021 dialogues about this work in Australia and Aotearoa NZ and some of the reasons we uncovered for why this work is not well known.  

SLIDE 3

Why does this work matter? A recent book from the Tate on conceptual art in the UK sets out the link from expanded cinema to video art. The link is significant, there’s much to do to understand it better. But it’s not just the link to video art that’s important. Societies are dealing with the ever-increasing complexity of technology. Understanding how the public has engaged with new technology over time, including through the use of technology by artists, is important for us to understand the ethics and the impact of technology. That's a big claim for artists getting out 16mm projectors in the late 60s and 70s, that they can help us understand our current techno-cultural situation but as that technology became available, it made sense to artists to do that. We know this because it’s been discussed a lot with regard to these works in Europe in the UK and in Japan. So their engagement is an important say for us to explore the impact of these technologies.  

SLIDE 4

In 2021 I was involved in a dialogue over 6 months with a group of artists, scholars and film programmers. Those dialogues showed that there are small groups who know about these works. Particularly important are people who've been involved in the communities that have produced them – the artists themselves. And this is where you, the AV preservation community, come in. My own experience with AV preservation tells me that those who must literally wind through the films, check the mag media and enter data into collection systems get to know about works and histories in a unique and valuable way. That’s my motivation for this conversation with you.  

Insights from AV preservationists may be immensely valuable for a field like expanded cinema. This is because the works are hard to locate. In part, that's because the language to describe them is mixed. Calling them expanded cinema is not something that has been systematically applied. The case study for this is the work that Dr Cathy Fowler at Otago University has been doing about scenes in New Zealand. Cathy's work showed that seeking something called expanded cinema doesn't get your far. But seeking something with 16 mm and live performance, for example, Super 8 and live performance, gets you further. But of course, those kinds of categories, such as ‘live’ can't always be called up from collection management systems. One route is trawling through publications, exhibitions catalogues, film festival programs and conversations. But I hope reports from your practical contact might be another route.  

SLIDE 5

So, now I'm going to talk you through what we learn from our dialogue in 2021 and some of the themes that emerged. The dialogues were prep for the annual art history conference for Australia and NZ. For some months we met each fortnight to establish our common understanding. Sally Golding was part of this group. She is an Australian artist who spent 10 years in London and really led the experimental film scene and the expanded cinema community in London. The language that Sally used for her Unconscious Archives program was audio-visual performance. This goes by many names, noise, the experimental music scene, the expanded cinema scene. Some people might call it the handmade film scene or the artist-run film labs scene. Sally describes herself as an artist who focuses on networks.

Also in the conversation was Dirk De Bruyn. Dirk is a long-standing member of Australia's experimental Film Community, an artist and scholar. He's written quite extensively about experimental film, both, in Australia, and internationally.

Also on the panel was Dr. Cathy Fowler who had begun inquiries into the histories of experimental film in New Zealand and some of the examples she shared in that panel were really exciting. For example, Leon Narby’s Super 8 film performance installation from the 1980s, that happened at the opening of the Govett Brewster gallery. The fourth person involved in that panel was Jonathan Walley who is the author of Cinema Expanded, a really comprehensive book about expanded cinema practices, mostly from the Global North.

My own skin in this game is through my super 8 performance artworks. My investigations to try to find precedents for that Led me to 60s and 70s expanded Cinema. Notable for me was Jeffrey Shaw’s piece Corpocinema, but I soon found the London Filmmakers Co-op works and in my collaboration with artist Lucas Ihlein as Teaching and Learning Cinema we have taken up a practice of re-enacting these works, extending to preservation through re-enactment. So all five of us on that panel had skin in the game in different ways.

SLIDE 6

I’ve mentioned we uncovered some interesting themes around visibility.

I've explained naming can hide – looking up expanded cinema delivers mixed and unrewarding results. Looking up 16 mm live, mixed media – again it's hit and miss, so this is patient work as Cathy found trawling through the Alternative Film newsletter in New Zealand.

The other thing we discovered through Dirk's work to look into what's happened to Super 8 works made in Melbourne was that disheartenment is a risk for preservation.  

There was a very vibrant super 8 film scene in Melbourne through the 80s and early 90s but there are few formal archives. Dirk sought to get work digitised but met challenges – artists were incredulous there could be interest in the work decades later when it had languished without attention for so long. Not all works were expanded cinema, many were experimental film. When it came to actually handing over their films, Dirk noticed a pattern emerging where the film makers never quite got round to it. And what we discerned here was that they didn't really think anyone would take them seriously and they couldn't really see the point in sharing that work. The low status of these works seems hardwired into the environment. That disheartenment as a risk for preservation  really interests me.

Cathy also discovered the importance of scenes to uncovering work in New Zealand. The way audio-visual performance has emerged has really been through local communities – a ‘night’, people show up with gear and a new work gets made. The scenes in New Zealand through the 70s and 80s were quite distinct, in part because of the geography of New Zealand where it's not so easy to travel between cities. The works don’t necessarily stand well alone, they made sense as part of the events they were made for. To use a high profile example, works like Anthony McCall’s Line Describing a Cone, originally made for a room of people and cigarette smoke, is quite different encountered as a continuous video projection in a white cube. How do we go about meaningfully archiving scenes, bringing the vibrancy and complexity into being in the future? I have some ideas around that from my re-enactment work but for now I'm going to leave it at noting that as a challenge archiving scenes.

The final point that we landed upon was the challenge of how to actually tell these histories. From our discussions we resolved the story needs to be polyvocal with lots of voices in order to capture the vibrancy. They need to be non-hierarchical - we don't want to establish a cannon. What we're looking for are lists, a kind of comprehensive account because a scene is made up of its many parts and without those parts, you cut down the value overall. We explored different models for making connections – to bring edges together and to address different experiences of value for what we expect is an uneven, fragmented story.

SLIDE 7

So why does this stuff about visibility, naming problems, disheartenment and the kind  

of histories we want to tell impact on preservation? What we're doing is capacity building for preservation. We're not yet at the point where we can actually preserve these works because we don't yet know what the works are. Compare that with for example, the London Filmmakers Co-op, there's a whole lot of work about the history of that place and scene that's gone on that enables the value to get expressed by, for example, collecting institutions, acquiring and caring for those works. So of course, the challenge with our media, with acetate film, magnetic tape, early video formats etc is that they won't wait. We haven't got another 50 years to sit on our hands and see what happens. We need to explore how we can bring these histories into visibility now. I gave you my sales pitch for why that's really important about us understanding, technology, engaging with technology ethically, understanding video art’s roots and how we've arrived at these uses of media.

So I'm really hoping that I can open a dialogue with you about these futures of expanded Cinema. I hope we can build a dialogue and partnerships to explore these histories across our region together. Thanks for listening.

References

Curham, L., & Golding, S. (Convenors.). (2021). Let’s talk about expanded cinema [panel in the Art Association of Australia and NZ 2021 conference]. https://www.aaanz21.live/panels1/panel-4

Duguet, A.-M., Klotz, H., & Weibel, P. (Eds.). (1997). Jeffrey Shaw: A user’s manual, from expanded cinema to virtual reality = Jeffrey Shaw: eine Gebrauchsanweisung, vom expanded Cinema zur virtuellen Realität. Cantz, see Corpocinema , photographed in Amsterdam, 1967, p 8.  

McCall, A. (1973) 'Line Describing a Cone' in Lightshow, Museum of Contemporary Art Sydney July 2015, https://www.mca.com.au/artists-works/exhibitions/light-show/

Straw, W. (2004). Cultural Scenes. Loisir et Société / Society and Leisure, 27(2), 411–422. https://doi.org/10.1080/07053436.2004.10707657

Walley, J. (2020). Cinema expanded: Avant-garde film in the age of intermedia. Oxford University Press.

Wilson, A., & Tate Britain (Gallery) (Eds.). (2016). Conceptual art in Britain 1964-1979. Tate Publishing.

Youngblood, G. (1970). Expanded Cinema (First edition). Dutton. https://archive.org/details/expandedcinema

Additional resources

Barton, C. (2014). 'Post-object and conceptual art - The rise of post-object art', Te Ara - the Encyclopedia of New Zealand, http://www.TeAra.govt.nz/en/interactive/43829/real-time-1970 (accessed 2 May 2023), for information about Leon Narby's Real Time.  

De Bruyn, D. (2023). The Shoring Project. [single frame animation of the Melbourne Super 8 Film Group newsletters 1986-2000]. https://vimeo.com/user16477524

De Bruyn, Curham, L & Zuvela, D. (In press). 'Ghost Writing – where is Australian experimental film?' in Handbook of Experimental Film, eds. J Walley and K Knowles. Palgrave Macmillan.

Golding, S. (2018). Parsing Digital: Conversations in Digital Art by Practitioners and Curators. Austria: Austrian Cultural Forum London

Ihlein, L., & Curham, L. (2015). Reaching Through to the Object: Re-enacting Malcolm Le Grice’s Horror Film 1. Performance Matters, 1(1–2), 24–40. https://performancematters-thejournal.com/index.php/pm/article/view/14

[hoicodo]

Lưu trữ, bảo quản, số hóa, phục chế phim thời kỳ cách mạng 4.0

Lưu trữ, bảo quản, số hóa, phục chế phim thời kỳ cách mạng 4.0

Trong khuôn khổ Hội nghị lần thứ 25 Hiệp hội các Viện Lưu trữ Nghe nhìn Đông Nam Á – Thái Bình Dương (SEAPAVAA) tại Việt Nam, ngày 22/6, tại Hà Nội, Viện Phim Việt Nam tổ chức hội thảo với chủ đề “Lưu trữ, bảo quản, số hóa, phục chế phim trong thời kỳ Cách mạng công nghiệp lần thứ tư”, với sự tham gia của các cơ quan, đơn vị hoạt động trong lĩnh vực điện ảnh – truyền hình, bảo quản, lưu trữ…