- spring courses and workshops 2010

From: James Holcombe (email suppressed)
Date: Tue Mar 16 2010 - 08:38:42 PDT

Dear Framworkers, please find below courses and workshops at the lab this

BW | courses and workshops | Spring 2010

Special workshops / events in this e-mail:

1. MetalkinG – El Kino Up Your Ears!
2. Takahiko Iimura presents: 'How To Make Time Visible In Film (without
3. Helga Fanderl Super 8 workshop


1. Diary
2. Monthly workshops
3. Special workshops / events
4. Booking information

1. Diary

1. Super 8mm, Saturday 13th 10:30 – 5:30pm, £75
2. 16mm contact printing, Friday 19th 10:30 – 4pm, £55
3. Bolex 16mm camera, Saturday 27th 10:30 – 6pm, £100

1. presents MetalkinG – El Kino Up Your Ears!, Thursday 1st and
Friday 2nd, £90 members, £130 non-members
2. Super 8mm, Saturday 17th 10:30 – 5:30pm, £75
3. presents a special workshop with Takahiko Iimura, "How To
Make Time Visible In Film (without photography) ", Wednesday 21st 7 –
10pm, £30 members and £45 non-members
4. Optical Printing, Saturday 23rd, 10:30 – 5:30pm, £55

1.Bolex 16mm camera, Saturday 1st 10:30 – 6pm, £100
2.Super 8mm, Saturday 8th 10:30 – 5:30pm, £75
3.Rostrum animation camera, Saturday 22nd 10:30 – 4:30pm, £55
4.Helga Fanderl Super 8 workshop, Saturday 29th 10:30 – 5:30pm, £75

2. Monthly Workshops

Optical Printing
This course will demonstrate how to transfer super 8 to 16mm or 16mm to
16mm, create freeze frames from footage already captured, fast and slow
motion effects, double exposures, and the use of filters with the JK
optical printer.

Super 8mm
This one-day workshop is an intensive, hands on course that takes you
through the Super 8 camera, stocks, shooting film, and hand processing.
Examining cameras and their features, film stock, exposure, light meters
and filters, participants shoot Ektachrome 64T super 8 stock and learn how
to hand process film using the Lomo developing tank. The course also looks
at work made by artists using Super 8, focusing on its aesthetic qualities
and flexibility of shooting, and ends with a screening of the films made.
You may wish to bring a camera to this course if you have one, although does provide some basic models.

16mm Contact Printer
This course demonstrates how to save the expense of commercial labs by
making your own 16mm prints from 16mm negatives, grading your prints,
analysing your negatives, hand processing tests, as well as the endless
scope for experimentation possible using the Debrie 16mm contact printer.

Rostrum animation camera
The most common uses for the rostrum camera are to make titles, film
transparencies and photographic images, stop frame animation. The rostrum
is equipped with a video assist feed to a monitor. This is a full
introduction to the equipment and to be entitled to use the camera you
must have completed this course., which includes loading and operating the
camera, shooting and hand processing a text, and analyzing the results on
a 16mm Steenbeck.

Bolex 16mm camera
This course looks at 16mm black and white film shooting and animation with
the Bolex 16mm camera. This camera has shaped and defined artist’s film
for over half a century, and the course covers it’s basic features - how
it is loaded and operated, lenses, focusing, and light metering followed
by an afternoon shooting session at the studio. You are welcome
to bring props and objects you may wish to film with to this session. On
the course participants will learn how to load a Lomo developing tank, and
how to hand process their 16mm films from the first session. The day will
also include a look at the use of the Steenbeck editing table, and how to
cut and splice film. The workshop ends with a projector screening of all
the films made on the course.


3. Special workshops / events

1. presents: MetalkinG – El Kino Up Your Ears!
Thursday 1st and Friday 2nd April, 10:30 – 5pm. Open to 8 participants,
£130 non-members, £90 members

MetalkinG comprises Riojim and Richarles Bronson who use 16mm projectors
as both improvisational tools, alongside electric guitar, effects and
sound processing the outcome of which is a live performance with genuine
real time collaboration between projectionist and musician, sound and
images. Riojim’s film work involves heavy found footage processing, and
the use of both simple and intricate lab processes to create images.
Riojim is a member of Levox, who currently run the French Atelier MTK,
based In Grenoble. This workshop coincides with a MetalkinG performance at
Café Oto in Dalston on Saturday 3rd April at 8pm. Tickets: £6 at CAFÉ OTO,
18 - 22 Ashwin street, Dalston, London, E8 3DL

Riojim will guide you through creating loops of film through hand contact
printing (flat printing in the darkroom), hand processing using both E6
and C41 colour positive and negative chemicals, scratch mixed black and
white positive chemistry, esoteric chemical cross processes, basic optical
printing and the use of slow and fast motion, fades and tinting and toning
film using filters, and creative expanded projection.

This heavily practical two-day workshop is suitable for both absolute
beginners to film, as well as those artists who may be interested in
expanding their horizons. The workshop will use found footage sourced from’s archive, although you are welcome to bring your own to work
with (around 2-3 meters of film for loop work) – with the caveat that due
to the nature of the workshop and processes involved this should not
include footage that is the apple of your eye.

For more information please see:

2. and Takahiko Iimura present: 'How To Make Time Visible In
Film (without photography), Wednesday 21st April, 7 - 10pm. Cost: £30 for members, £45 for non-members, please note no previous experience
in film making is required.

"In concentrating on this set of problems, often wrongly seen as
'minimalist', Iimura went much, much further than any other film artist in
exploring a kind of art-science. This concern with the experience of time,
its measured passage and the analogy between time and space, has been the
main recurring theme at the centre of his work." Malcolm Le Grice,
"Abstract Film and Beyond", MIT Press

Takahiko Iimura has been a pioneer Japanese artist of experimental film
and video since 1960. Residing in both Tokyo and New York, Iimura has had
numerous exhibitions in Japan, the US, and Europe. One of his early films,
ONAN, was awarded Special Prize at the legendary Brussels International
Experimental Festival. Recently, he has been working with computers,
publishing multimedia CD-ROMs and DVDs of his films, videos, graphics,
texts, as well as photographic works. Perhaps the most enigmatic figure in
avant-garde cinema/video, Takahiko Iimura mediates Zen spirituality and
technology with playful irony.

For this unique workshop to be held at, Iimura will be exploring
how participants can make time visible in film, (without photography),
using markers of different colors and sizes, long and fat needles, clear
and black 16mm film. The workshop will include screenings of original
Iimura prints sourced from the Lux, (to whom our thanks are due),

24 Frames Per Second 1975
One Frame Duration 1977
2 Min. 46 Sec. 16 Frames (100 Feet) 1972
Timed 1, 2, 3 1972
(Timing 1,2,3,4 1972)
(Timelength 1,2,3,4 1972)
1 To 60 Seconds 1973

This workshop coincides with two other Iimura events taking place in
London, a performance at Close Up on Tuesday 20th April
( ) and a film screening at
Central St. Martin’s College of Art on Thursday 22nd April

For more information on Takahiko Iimura please see:
(English & Japanese):

3. Helga Fanderl Super 8 workshop, Saturday May 29th 2010, 10:30 – 6pm,
£75 per person. is pleased to announce a Super 8 workshop with Helga Fanderl as
part of ‘Instances of Serendipity’ a week of screenings at the
Goethe-Institute and in London. For more information please see and

Helga Fanderl is one of a small number of filmmakers who continues to make
serious formal innovations with Super 8. She was introduced to film in the
mid 1980s and subsequently studied with Peter Kubelka and Robert Breer.
Since the mid 1980s she has completed over six hundred short films. Most
of them consist of a single roll of Super 8, lasting around three minutes,
but many are shorter, and some but a single shot of a few seconds
duration. Uniquely, all the films are edited in-camera. Helga Fanderl’s
work is characterised by a fascination with grids, meshes and layers and
the complex optical interplay between them. Her films arise from intense
observation and a honed improvisatory approach that depends on rapid
reactions and spilt second timing.

This workshop is aimed at artists and filmmakers with an empathy to Super
8 as it is an opportunity to hear one of the greatest exponents of Super 8
as a medium, discuss the many themes and concerns arising from her
practice and the poetics of her Super 8 filmmaking.

"I am interested in communicating with the subject through the camera,
condensing and giving form to what I perceive and also what I think and
feel while I am filming. The camera is hand-held. One feels my presence
behind. The process of transforming my perception of real world and real
time into cinematic expression is complex. I feel enthusiastic about
making a film while I am filming. In one gesture, as it were. That is a
risk. Thus a film always reflects the process of its own creation. Making
films means making time, or shaping time. What inspires me has often to do
with patterns of movements. I pick up found rhythms, follow and play with
them. When I film I am looking at things with greater care, and they seem
to look back. That allows to experience them as if they were new and if
they had no predefined signification, what in turn frees the perception
from preset expectations. The lightweight and handy Super 8 camera is a
fine instrument to catch the moment and to elaborate cinematic languages
consistent with the ephemeral."

Under Helga’s tutelage, participants will explore the use of the Super 8
camera to capture and play with time and events, and think about stylistic
devices and forms of representation (It’s use in improvisation and in
observing mechanical, human and natural motion.)

Shooting a single roll of colour positive film between four people
participants will explore ways of observing through the camera eyepiece,
editing in camera, brevity and length of takes, improvising with film, and
ways of shooting where the act of perceiving and filming are one and the

All films shot during the workshop will be hand processed and projected on
the same day, all footage shot on the day will be available for you to
take away at the end of the workshop. You advised to bring a camera to
this course if you have one.

Please note the workshop includes admission to a screening and discussion
at between Helga and filmmaker Nicky Hamlyn on Wednesday 26th
May, 7pm. All workshop participants are strongly advised to attend this

4. Booking information

Booking for all courses and workshops is on a first come, first serve
basis. To book for a workshop please call James Holcombe on 0207 729 4494
or email james.holcombe(at) Places on events are
ONLY confirmed on full delivery of payment. It is normal
procedure that 10 days notice is required in the case of cancellation. No
refunds will be given 5 days before the event, and a 50% refund is
available with 6 to 10 days notice.

All workshops and courses are held at:
316 - 318 Bethnal Green Road
E2 0AG
0207 729 4494

For info on FrameWorks, contact Pip Chodorov at <email suppressed>.