A regular screening series presented by the 8fest, where you can enjoy 8 films for 8 dollars with the artist in attendance, curated by Stephen Broomer.
Join us Saturday, June 11th at 8:00pm as San Francisco-based small-gauge stalwart Paul Clipson returns to Toronto for the first time since 2011. A mainstay on the current experimental film scene, Paul is a lovely gentleman and a supremely talented artist. A rare and unique opprtunity to see Paul projecting some of his camera originals, this event will be a real feast for both eyes and ears. This screening is a co-presentation between CineCycle and 8x8, the 8fest's year-round showcase for small-gauge filmmakers admired by the festival.
Curated by Adam Rosen + John Creson, Introduction by Stephen Broomer
LANDSCAPE DISSOLVES (2012) Super 8mm, color/B&W, 6 minutes, music by Alex Cobb
ABSTEIGEND (2012) Super 8mm, B&W, 7 minutes, music by Evan Caminiti
ORIGIN (2009-2012) Super 8mm, color/B&W, 9 minutes, music by Che Chen
OTHER STATES (2013) Super 8mm, color, 7 minutes, music by Jefre Cantu-Ledesma
BRIGHT MIRROR (2013) Super 8mm, color/B&W, 9 minutes, music by Jefre Cantu-Ledesma
TRANSPARENT THINGS (2014) Super 8mm, color/B&W, 7.5 minutes, music by Jefre Cantu-Ledesma
LIGHT YEAR (2013) 16mm, color, 10 minutes, music by Tashi Wada
LOVE AFTER LOVE (2014) 16mm, color, 5 minutes, music by Jefre Cantu-Ledesma
THE LIQUID CASKET / WILDERNESS OF MIRRORS (2014) 16mm, color/B&W, 7.5 minutes, music by Lawrence English
MADE OF AIR (2014) 16mm, color/B&W, 11 minutes, music by Grouper
PULSARS E QUASARS (2014) Super 8mm, color, 4.5 minutes, music by Arp
Paul Clipson is a San Francisco-based filmmaker who often collaborates with sound artists and musicians on films, live performances, and installations. His Super 8 and 16mm films aim to bring to light visual preoccupations that reveal themselves while working in a stream of consciousness manner, combining densely layered, in-camera edited studies of figurative and abstract environments, in a process that encourages unplanned-for results, responding to and conversing with the temporal qualities of musical composition and live performance. His work has screened around the world in festivals and at sound and film events such as the International Film Festival Rotterdam, The New York Film Festival, and the Cinémathèque Française.
8X8 October 28th, 2015 featured Zoë Heyn-Jones. Prolific in recent years, making a range of films in super 8 and 16mm, as well as intermedia performance works and gallery installations, that encompass material inquiry, the cataloguing of objects, and the enclosing of gaps between distant cities. She has consistently engaged the working methods of handmade filmmaking, her ephemeral, conceptual projects given a tactile presence by the scratches and tears of bucket processing. Since 2011, she has turned her camera on domestic scenes and international concerns, from films of home and family, to tours of Central America and Iceland. In these films, Heyn-Jones has emphasized the unique time-relations of film, whether condensing long journeys, as in TOR-MTL-TOR, or extending brief communions, as in Gathering.
American Flags (2011, super 8, b&w, sound, 9 minutes)
Easter (2011, super 8, b&w, silent, 2.5 minutes)
Sightseeing (2011, super 8, b&w, silent, 2.5 minutes)
Guatemala City to Santiago Atitlán (2011, super 8, b&w, silent, 2.5 minutes)
Home/Land (2012, 16mm, b&w, silent, 6.5 minutes)
Dematerialization and Rematerialization of the Nostalgic Object (2013, super 8, colour, 2.5 minutes)
Graces (2014, super 8, colour, silent, 2.5 minutes)
Lake Light (2013, super 8, b&w, silent, 2.5 minutes)
Gathering (2014, super 8, b&w, sound, 3.5 minutes)
Immanent Sagas - Vikingfest (2013, super 8, b&w, sound, 3 minutes)
TOR-MTL-TOR (2011, super 8, b&w, silent, 2 minutes)
Domestic Product (2013, 16mm/35mm slide, 8 minutes)
8X8 July 2015: The films of Barbara Sternberg offer perceptual challenge as they draw from the linguistic and visual processes through which we shape reality. For in these films, Sternberg casts the figure, the landscape, and the memorial inscription in terms both
archetypal and mythic, evading the singular, unambiguous meaning while favouring more
mysterious definitions. Her work draws its distinct material character from increasingly elaborated acts of optical printing and other forms of image manipulation, distinguishing image and media, dissociating image from subject, as she makes for us the unspecific subject, to be classified, or more rightly, experienced. By the three-decade distance that this programme travels, the image is subject to spatial and temporal fluctuations, all while subject to rhythmic structures – of repetition, substitution, and sudden insight. The 8 fest is proud to present this rare opportunity to see Barbara Sternberg's early
works, including several films not in distribution, alongside a number of her more recentnfilms. All of this is offered in the context of small gauge film, a material she has used in exhibition and in her process since her earliest films.
A Study in Pink and Blue (1976, Super 8, 3.5 minutes)
Transpositions (1978, Super 8, 7.5 minutes)
(A) Story (1981, Super 8, 12.5 minutes)
Process work: Along the Aboujagane from Memramcook to Shemogue (Super 8, 2 minutes)
Awake (1997, Super 8, 3 minutes)
Burning (2002, 16mm, 7 minutes)
Time Being 1 – IV (2007, 16mm, 8 minutes)