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
Published: 15 November 2009
Curatorial essay by Chris Kennedy
Artists: Rosario Sotelo, Philip Hoffman, Joyce Wieland and Hollis Frampton, Rose Lowder, Susan Oxtoby, Cara Morton, Barbara Sternberg, Chris Welsby, Robert Todd.
Strategies of the Medium IV: In 27 Seconds
This fourth installment of the Strategies of the Medium series will focus on international works that use the limitations and flexibility of the spring-wound Bolex camera as a structural element of composition. The Bolex cameras are perhaps the most accessible and flexible 16mm and Super 16mm production tools. Both locally and internationally there is a strong tradition of filmmakers experimenting with these elements and this screening will seek to demonstrate the variety of results possible. The evening will conclude with a discussion with some of the filmmakers who have integrated the rhythms of the Bolex camera into their working practice. This program will be supplemented by 16mm Filmmaking with the Bolex, a special production course focused on 16mm films offered as part of LIFT’s fall 2009 workshop season.
