tag:blogger.com,1999:blog-57540222427210738622024-03-13T19:58:24.456-07:00LABO COLOR CLUB / BEIRUTLABO COLOR CLUB / BEIRUTColor Club Beiruthttp://www.blogger.com/profile/07653040782924621304noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-5754022242721073862.post-47754801162410958012013-04-16T01:14:00.004-07:002013-11-06T07:22:35.809-08:00COLOR CLUB WORKSHOP / FEB 013<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Times; mso-bidi-font-size: 10.0pt;">“If you can
work without any system of regulation or control, then you can increasingly
utilize and develop a fresh mode of cinema.”</span></b></span></span><br />
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Masao Adachi</span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><a href="http://2.bp.blogspot.com/-T1OSSpSRNEs/UW0HKKaoawI/AAAAAAAAACE/xP63nmfrClk/s1600/photo+2.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-T1OSSpSRNEs/UW0HKKaoawI/AAAAAAAAACE/xP63nmfrClk/s200/photo+2.JPG" height="200" width="200" /></a>During six days ten participants coming from different
professional backgrounds will learn how to operate super 8 cameras and hand
process their own color reversal films. The Workshop is hosted by <a href="http://www.beirutartcenter.org/">Beirut Art Center</a> during the exhibition <a href="http://www.beirutartcenter.org/exhibitions.php?exhibid=330&statusid=3">NOW HERE THEN ELSEWHERE</a> by Eric Baudelaire. Film Processing will take place
in <a href="http://mansion-blatt.blogspot.de/p/blog-page_3383.html">Mansion</a> where the Laboratory is installed. </span></span><br />
<a href="http://3.bp.blogspot.com/-_8i7dtabvbY/UW0HUQ6mbGI/AAAAAAAAACU/x6xnMHqbgkU/s1600/photo+5.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-_8i7dtabvbY/UW0HUQ6mbGI/AAAAAAAAACU/x6xnMHqbgkU/s200/photo+5.JPG" height="200" width="200" /></a><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">The theme of the <a href="http://www.beirutartcenter.org/educational-activities.php?exhibid=341&statusid=3"><i style="mso-bidi-font-style: normal;">Color Club Workshop</i></a>
is “Fukeiron” – the cinema of landscape – which is a political element in the
cinema of Masao Adachi, a Japanese filmmaker and scriptwriter who was most
active in the 60’s and the 70’s. Together with Eric Baudelaire, during the
workshop we will screen films of Adachi and discuss his cinematographic
philosophy and his belief in the non-existent difference between revolution and
cinema. Eric Baudelaire is the director of the film <i style="mso-bidi-font-style: normal;">Anabasis</i>, which is based on the cinema of Masao Adachi and his
“Fukeiron” technique, which holds that by filming a landscape you frame the
political and social history of a place through its physical evolution. </span></span><br />
<a href="http://1.bp.blogspot.com/-BEZV7lvZKNQ/UW0HOC18ogI/AAAAAAAAACM/3m-Dn_3hkiQ/s1600/photo+3.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-BEZV7lvZKNQ/UW0HOC18ogI/AAAAAAAAACM/3m-Dn_3hkiQ/s200/photo+3.JPG" height="200" width="200" /></a><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">The participants will conceive of a synopsis for a film that they would like to
shoot during the workshop, adapting the cinema of landscape and anticipating
the final edit of their film during their filming. This is a technique that is
used as an exercise for the filmmaker to think his film before shooting and so
that he shoots the scenes in the right order. </span></span><br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Super 8 film cartridges are 3 minutes long at 24 frames per second, so at the
end of the workshop we aim to have 10 films of 3 minutes each. Participants are
allowed to use up to two cartridges depending on the nature of their film and
are allowed to potentially work together. All the films produced during this
workshop have to be shot, processed and ready to screen before the sixth day
where the participants will host a <a href="http://www.beirutartcenter.org/parallel-events.php?exhibid=345&statusid=3">public screening in Beirut Art Center</a>’s
auditorium.</span></span></div>
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">The 27 min produced will then travel to To<span style="font-size: small;">kyo as a visual souvenir of Beirut to Masao Adachi. </span></span></span><br />
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<a href="http://1.bp.blogspot.com/-1d7Hc3qGpdk/UW5mLE0e05I/AAAAAAAAAG8/azpHW6-QtjA/s1600/photo+1.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-1d7Hc3qGpdk/UW5mLE0e05I/AAAAAAAAAG8/azpHW6-QtjA/s200/photo+1.JPG" height="200" width="200" /></a><span style="font-family: Times,"Times New Roman",serif; font-size: small;"><b>Masao Adachi</b> (born May 13, 1939 in Fukuoka Prefecture)
is a Japanese screenwriter and director, most active in the 1960s and 70s. Best
known for his writing collaborations with directors Kōji Wakamatsu and Nagisa
Oshima, he also directed a number of his own films, usually dealing with
left-wing political themes. He stopped making films in the early 1970s and
joined the Japanese Red Army, an armed militant organization. After living in
Lebanon for 28 years, he was arrested for passport violations, and was found in
September 2001, receiving a four-year sentence suspended to 18 months. After
his release he was deported to Japan via Jordan, where he was re-arrested on
other passport violations. After being </span><br />
<span style="font-family: Times,"Times New Roman",serif; font-size: small;">held for a year-and-a-half he was
convicted and released based on the time he had already served. Since his
release, he has resumed making films after a 30-year absence.</span></div>
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<a href="http://4.bp.blogspot.com/-BahfWVa4Hs0/UXAtQ-WzDUI/AAAAAAAAAIE/yGko6XQK6uo/s1600/Preview+of+%E2%80%9Ccolor+club+copy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-BahfWVa4Hs0/UXAtQ-WzDUI/AAAAAAAAAIE/yGko6XQK6uo/s640/Preview+of+%E2%80%9Ccolor+club+copy.jpg" height="502" width="640" /></a></div>
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Color Club Beiruthttp://www.blogger.com/profile/07653040782924621304noreply@blogger.comBeirut, Lebanon33.8886289 35.4954794000000228.3665944 -5.8131145999999774 59.410663400000004 76.804073400000021tag:blogger.com,1999:blog-5754022242721073862.post-69782474526062054742012-02-29T02:48:00.000-08:002013-04-17T02:15:10.554-07:00LABEIRUT FILM WORKSHOP / FEB 012<style>
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<span style="font-size: small;"><span style="color: black;"><a href="http://2.bp.blogspot.com/-JdyMnnsELg0/UW2Iz3m9PsI/AAAAAAAAAGk/CA6Lef3ixJE/s1600/Beirut+2012_Krasno.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="253" src="http://2.bp.blogspot.com/-JdyMnnsELg0/UW2Iz3m9PsI/AAAAAAAAAGk/CA6Lef3ixJE/s400/Beirut+2012_Krasno.jpg" title="Philip Widmann ©" width="400" /></a></span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;">Celluloid acetate is cinema’s most
basic tool and has over time proven to be the most reliable image medium.
Despite this fact, film material has since the 1970s slowly been replaced by
video: initially, in television and the amateur sector, and subsequently in
professional cinema production. Thus, analogue film material over the years has
moved to a sphere of professionalism and has acquired the attributes of being
pricey, complicated or virtually unobtainable. With the infrastructure for
processing and postproduction of analogue film having shifted to the
professional sector, working with film has become largely inaccessible for
amateurs, students, and independent filmmakers or artists. Historically, things have not
always been that way. Super 8 film format has persisted since 1965 and has
along the way enabled countless amateurs and artists to film and project with a
low-cost celluloid image medium. Likewise, 16mm has over decades evolved from a
semi-professional film format to the medium of choice for TV reportages and
documentaries and eventually became a cheaper alternative to shooting in 35mm
for professionals.</span></span></span><br />
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<a href="http://4.bp.blogspot.com/-I6MLB3wi5GI/UW1_RKU6dAI/AAAAAAAAAFo/mgSYjIBijZQ/s1600/Beirut+2012_Splice+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="250" src="http://4.bp.blogspot.com/-I6MLB3wi5GI/UW1_RKU6dAI/AAAAAAAAAFo/mgSYjIBijZQ/s400/Beirut+2012_Splice+2.jpg" title="Philip Widmann ©" width="400" /></a><span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"></span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;">Beirut used to be one of the only
places in the Middle East that offered services for the processing of Super 8
films through the Kodak Club cine-laboratory, which existed until the late
1980s. Ironically, before being outdone by video, Super 8 processing in Lebanon
came to a halt when a grenade hit Kodak’s processing machine during the civil
war. Kodak still sells film stocks in Lebanon, and processing facilities for 16
and 35mm film continue to exist, mostly catering for the professional film
industry.</span></span></span><br />
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<a href="http://1.bp.blogspot.com/-WIZc8IBrQC4/UW2DwAnRotI/AAAAAAAAAGE/qSAUOXad2YE/s1600/Beirut+2012_Chloe.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="246" src="http://1.bp.blogspot.com/-WIZc8IBrQC4/UW2DwAnRotI/AAAAAAAAAGE/qSAUOXad2YE/s400/Beirut+2012_Chloe.jpg" title="Philip Widmann ©" width="400" /></a></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;">Egypt has one of the longest cinema traditions in
the world. <span style="color: black;">Cairo was long known as the Eastern Hollywood, </span>but due to both the
dilapidation of the infrastructure, the generalized corruption, and the lack of
democracy in its contemporary history, the Egyptian cinema has lost most of its
creativity, attractiveness and grandeur<span style="color: black;">. Like in Beirut, Cairo
had facilities for the processing of small gauge film, and served the needs of
filmmakers and amateurs on the African continent. Studios and laboratories were
equipped for making 8 and 16 mm films, especially in the documentary field and
for amateur filmmakers. A small laboratory was located in downtown Cairo,
processing film and providing facilities for this alternative industry.
However, in the 1970’s, due to the social and economic changes undergoing in Egypt
this expression platform was depleted and the downtown lab was closed by the
mid 1970’s. </span></span></span></span>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;">The cinema histories of Egypt and
Lebanon have been inextricably linked. Egypt being a giant film industry for
the whole Arab market, and Lebanon, with its air of liberality, being the
preferred shooting location for Egyptian productions. The cinema culture in
Lebanon was tragically destroyed due to the multiple wars that happened over
the last forty years and is slowly getting back together in the last decade. On
the other hand the cinema industry in Egypt experienced a different kind of
crisis but is still effective and in evolution.</span></span></span><br />
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<a href="http://4.bp.blogspot.com/-bHUCu37pERE/UW2EFwwb4lI/AAAAAAAAAGM/pRJt6M-6EOo/s1600/Beirut+2012_Lori+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="245" src="http://4.bp.blogspot.com/-bHUCu37pERE/UW2EFwwb4lI/AAAAAAAAAGM/pRJt6M-6EOo/s400/Beirut+2012_Lori+2.jpg" title="Philip Widmann ©" width="400" /></a><span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"></span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;">Today, few independent filmmakers,
visual artists and amateurs in the two countries and elsewhere in the world
continue to use celluloid. With the film industry abandoning its analogue
hardware, however, new options have sprung up for those interested in utilizing
the specific aesthetics of film. In numerous places around the world, cinema
enthusiasts have formed associations in order to collectively work with film,
acquire and salvage abandoned hardware, and hand-process their films within a
non-commercial structure largely independent of the infrastructure that the
film industry provides. The basis of these associations are the production and
transfer of knowledge of how to independently work with film, aiming at making
the respective techniques re-accessible to a larger number of people worldwide.
If organized in a collective, collaborative, and not-for-profit environment,
the critical attributes that working with film has acquired can be overcome and
film practice can be located in a sphere of handicraft rather than in one of
industry.</span></span></span><br />
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<a href="http://2.bp.blogspot.com/-Vvz55oUGa4M/UW2EWtK6JII/AAAAAAAAAGU/b5KNxJgPqnE/s1600/Beirut+2012_Table.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="245" src="http://2.bp.blogspot.com/-Vvz55oUGa4M/UW2EWtK6JII/AAAAAAAAAGU/b5KNxJgPqnE/s400/Beirut+2012_Table.jpg" title="Philip Widmann ©" width="400" /></a><span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"></span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;">A workshop on handmade film
practices, as proposed in this project, will help to make working on film
re-accessible in Lebanon through a close partnership with the <i>Cimathèque</i>,
a newly established laboratory association in Cairo. Following a basic training
of four Lebanese participants in Cairo, the week-long workshop in Beirut will
not focus on matters of aesthetics and content but rather on the technical,
material and economical aspects of working with film, with the intention of
sharing the knowledge that is needed to be able to autonomously continue this
work after the workshop has ended. It shall enable its participants to learn
the basic principles and techniques of working with Super 8 and 16mm film: from
the handling of cameras and the specifics of reversal film stock to shooting,
hand-processing, editing and projecting. Each participant shall produce one
silent short film on either Super 8 or 16mm during the workshop, which will be
shown at a public screening on the last day of the workshop.</span></span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;">This “Extension” is part of
<a href="http://laborberlin.wordpress.com/2012/04/11/analogue-zone-workshop-1/">ANALOGUE ZONES</a>, a collaborative exchange project between <i>Cimathèque Cairo</i>
and the two independent film laboratories <a href="http://laborberlin.wordpress.com/"><i>LaborBerlin</i></a> and <i>Laba Athens</i>.
Following the establishment of a self-organized laboratory within the <i>Cimathèque
Cairo</i> and the training of several Cairenes in the art and technique of
working with Super 8 and 16mm film, the extension to Beirut aims at a close
exchange and knowledge transfer between Egypt and Lebanon. </span></span></span><br />
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<a href="http://3.bp.blogspot.com/-tbLNw98l-_c/UW2ExQLzQ2I/AAAAAAAAAGc/ytnxFPzGSs8/s1600/Labeirut+A5+internet-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-tbLNw98l-_c/UW2ExQLzQ2I/AAAAAAAAAGc/ytnxFPzGSs8/s640/Labeirut+A5+internet-1.jpg" width="448" /></a><span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;"> </span></span></span><br />
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;"><a href="http://laborberlin.wordpress.com/2012/01/21/labeirut-film-workshop-documentation/">LABEIRUT PHOTO DOCUMENTATION</a></span></span></span><br />
<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;"><a href="http://laborberlin.wordpress.com/2011/12/07/call-for-applications-labeirut-film-workshop/">LABEIRUT CALL FOR APPLICATION 2012</a></span></span></span><br />
<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: black;"><a href="http://www.zicohouse.org/">ZICO HOUSE</a> </span></span></span><br />
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Color Club Beiruthttp://www.blogger.com/profile/07653040782924621304noreply@blogger.comtag:blogger.com,1999:blog-5754022242721073862.post-72160488823998641582011-04-29T09:28:00.000-07:002013-04-18T10:14:12.109-07:00PROJECTING TOWARDS A POSSIBLE FUTURE / APR 11<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-9fboLocJ4pY/UXAf6aSjSOI/AAAAAAAAAHc/zHuGlDr-7-M/s1600/mixed+kodak+club.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="295" src="http://4.bp.blogspot.com/-9fboLocJ4pY/UXAf6aSjSOI/AAAAAAAAAHc/zHuGlDr-7-M/s400/mixed+kodak+club.jpg" width="400" /></a></div>
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Projecting towards a possible future is a presentation of the outcome of a first<br />
research based collection on analogue film practice in Beirut.<br />
Filmmakers Siska (Beirut / Berlin) and Philip Widmann (Berlin) gathered information on the<br />
former Kodak laboratory for Super 8 and 16mm films that was shut down<br />
during the civil war.<br />
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<a href="http://1.bp.blogspot.com/-2RyhRlNmDfU/UXAnyaWW9wI/AAAAAAAAAHs/y9eEMCN6Vs8/s1600/2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="http://1.bp.blogspot.com/-2RyhRlNmDfU/UXAnyaWW9wI/AAAAAAAAAHs/y9eEMCN6Vs8/s320/2.jpg" width="320" /></a></div>
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This glimpse into the infrastructure of private film production in Lebanon aims<br />
at a possible re installation of a film laboratory for amateur formats in Beirut.<br />
Drawing on models of self-organized, artist-run and non-profit laboratories for<br />
hand-processing and experimenting with Super 8 and 16mm existing in<br />
Europe, the Americas, and Asia, Projecting Towards a Possible Future is<br />
an exploration of the possibilities to create a space in Beirut for the work with<br />
film as handicraft. <br />
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<a href="http://3.bp.blogspot.com/-wMhSa9-_L48/UXAn3AG7yNI/AAAAAAAAAIA/THPLjT2iIhk/s1600/L1120370.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-wMhSa9-_L48/UXAn3AG7yNI/AAAAAAAAAIA/THPLjT2iIhk/s320/L1120370.JPG" width="227" /></a></div>
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The presentation took place in <a href="http://98weeks.blogspot.com/">98 weeks </a>project space Beirut<br />
from April 29th till the 1st of May 2011Color Club Beiruthttp://www.blogger.com/profile/07653040782924621304noreply@blogger.com