From: Tom Whiteside (email suppressed)
Date: Wed Jul 21 2010 - 08:37:17 PDT
Someone mentioned that when people speak of handling film, and the materiality of it, eyes tend to glaze over ....
But it is real for me, I've been handling film for more than thirty years and I do enjoy the physical work on the editing bench. I'm sure many people have the same experience. I work from archival material, so this isn't about shooting - I haven't loaded film into a camera in years. But opening cans in the editing room, putting film on the projector, cutting reels apart and making things new by recombining the old - there is a physical aspect of the work that is enjoyable, and it is unique to the medium. For the audience the experience of the film screening remains ephemeral, but for the maker the physical work comes first.
Speaking for myself, this is not in any way a retreat from new technology, or a desire to work with sprockets for any ideological reason. This is what was available when I first learned the trade, and I have simply stuck with it. WHY NOT? It still works for me, and the possibilities remain endless. I am well aware that digital projection can look really great (and what a good digital projector can cost) and all that, but my 16mm gear is already paid for and for the time being it works fine. It's as simple as that.
- Tom
From: email suppressed
Sent: Tuesday, July 20, 2010 7:07 PM
To: email suppressed
Subject: Re: [Frameworks] FUTURE OF FILM (was Letter to other Filmmaker Artists)
In a message dated 7/20/2010 3:22:59 P.M. Pacific Daylight Time, email suppressed writes:
I really think that analog shooting, editing, and projection are true manifestations of a kind of "slow cinema" movement that should be explored and embraced rather than discarded
That's a great term, Slow Cinema.
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