電影‧藝術‧實驗‧ Cinema In Art 竹映工作室 Bamboo Pictures Studio

The Unseen Seen: When film reels aren’t preserved perfectly, it makes them all the more interesting to photograph  《 看見看不見的 》展覽 ：當電影膠卷保存不當時，變成照片顯得更有趣。 ( 此篇僅作為參考翻譯，若翻譯有誤煩請提醒。譯/岑竹) 原作者：Teddy Wilson | April 10, 2015 10:54 AM ET Courtesy of Reiner Riedler 35 mm Positive Print of "Ginger und Fred" (orig. Ginger e Fred), 1985, Dir. Federico Fellini, act 1 of 7 When photographer Reiner Riedler began shooting film reels and negatives, he veered away from capturing the content of movies, focusing his lens instead on the stories the reels themselves told. His creative playground, Berlin’s Deutsche Kinemathek film archive, housed hundreds of thousands of films spanning decades. When travel and archiving failed to preserve the reels perfectly, it was good news for Riedler. Rips, scratches and imperfections made the reels all the more interesting to photograph. His travelling exhibition, The Unseen Seen, opens at the TIFF Bell Lightbox this week as part o

http://www.filmcomment.com/entry/artist-run-film-laboratories Kitchen Sink Cinema: Artist-Run Film Laboratories By Genevieve Yue on March 30, 2015 page from Recipes for Disaster: A Handcrafted Film Cookbooklet , by Helen Hill, 2005 There are roughly 65 film labs left in the world, of which around 20 are in North America. These ranks, along with the number of film stocks being manufactured, dwindled as digital technologies have saturated the realm of production and studios have moved away from film. When it comes to labs that process 16mm film—a mainstay of experimental film—and small-gauge stocks, only a few commercial options exist, mostly in the United States: Cinelab , in Boston; ColorLab in Maryland;  Dwayne’s Photo in Kansas; and Fotokem in Burbank. One of the most recent casualties of this technological shift has been Pac Lab, which closed in New York, leaving the city without any facilities to process and print 16mm. The decli