examples of textures, effects and mishaps from various handmade emulsions made between 2011-2015 (first shot is contact printed onto handmade emulsion as positive), second shot is camera footage on unwashed emulsion as negative, the rest is shot frame by frame on handmade emulsion with a pinhole lens and printed onto more handmade emulsion.
A discussion on the death of film. Where We Stand is a haunting portrait of theaters shot on handmade 16mm iodo-bromide emulsion. With a strong commitment to retaining the language of film, Where We Stand takes a good hard look at the fragile future of films made on film in this digital age.
Three generations of women are revealed in this intuitive journey into one family’s past. Crafting together analogue film techniques with personal interview, director Lindsay McIntyre creates an impressionistic exploration of her mixed Inuit heritage and the controversies surrounding her ancestry. (imagineNATIVE)
Australian. a fixed or definite amount of work; a work quota.
Origin: 1375–1425; late ME dawerk, daiwerk, OE dægweorc, equiv. to dæg day + weorc work
darg : construction is part of a series in which each film amounts to the cumulative effort of one day; the document of one day’s hard work, both in form and content. Darg is an old English word that has mostly fallen out of use. It denotes “a specific quantity of work; usually, the product of a day’s work”. The word itself reflects the brevity and intensity of the production process, in which the film was produced entirely within one day – the film a darg unto itself. This aspect of the project calls into question and challenges the idea and general practice of film production, which is most commonly a process that is very long and drawn out, taking months or more often years to complete. In this instance, the film was conceptualized, planned, shot on 16mm, hand-processed, printed, edited and sound designed in one day.
Situated at the geographic centre of Canada, Baker Lake, Nunavut is the only inland settlement in the Canadian Arctic. Fixing its gaze on this stark landscape, McIntyre’s haunting and sparse film uses hand wrought black and white 16mm film in a meditation on place and personal histories. (Images Festival)