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LONDON ON AND ON II: SURFACE STRUCTURES<\/strong> Exploring the surface of the film strip, the surface of the earth and the structures that make up cinematic movement, the programme begins with an overwhelming barrage and ends with a sliver of carpaccio. Between those extremes, time-lapse films survey the landscape or atmosphere and John Smith directs the flow of traffic.<\/p>\n Greg Pope, Shadow Trap, 2007, 35mm cinemascope, colour, sound, 8 min<\/strong> LONDON ON AND ON II: SURFACE STRUCTURES<\/strong> SHADOW TRAP WATER WATER CONTINENTAL DRIFT WORST CASE SCENARIO AS WE ALL KNOW SKIN FILM 3
\nSunday 1 June 2008, at 4pm<\/strong>
\nZurich Videoex Festival Cinema Z3<\/strong><\/p>\n
\n Nicky Hamlyn, Water Water, 2005, 16mm, b\/w & colour, silent, 11 min<\/strong>
\n William Raban, Continental Drift, 2005, 35mm, colour, sound, 15 min<\/strong>
\n John Smith, Worst Case Scenario, 2003, video, b\/w & colour, sound, 18 min<\/strong>
\n Alix Poscharsky, As We All Know, 2006, 16mm cinemascope, colour, silent, 8 min<\/strong>
\n Emma Hart, Skin Film 3, 2006, 16mm, colour, sound, 11 min<\/strong><\/p>\nPROGRAMME NOTES<\/a>
\nSunday 1 June 2008, at 4pm
\nZurich Videoex Festival Cinema Z3<\/p>\n
\nGreg Pope, 2007, 35mm cinemascope, colour, sound, 8 min
\n<\/strong>Shards of emulsion produced during the auto-destructive film performance Light Trap <\/em>have been layered and structured onto clear 35mm. Extending across the soundtrack area, the synaesthetic image creates an intense volley of sound and light. (MW)<\/p>\n
\nNicky Hamlyn, 2005, 16mm, b\/w & colour, silent, 11 min
\n<\/strong>Water Water<\/em> is based around a set of antinomies that operate at various levels, from between frames to between the two halves of the film. The first is composed of individually filmed frames (animation) which form shots of interlaced contrary motion. In the second half, dissolves replace cuts, light softens and contrast decreases. (NH)<\/p>\n
\nWilliam Raban, 2005, 35mm, colour, sound, 15 min
\n<\/strong>A land and sea-scape film drawn from rich sources of imagery: the constantly changing mood of the sea to the distinctly different shorelines of Kent and the Pas de Calais \u2013 21 miles of water that define both the \u2018island race\u2019 and hostility towards a wider integration within Europe. (WR)<\/p>\n
\nJohn Smith, 2003, video, b\/w & colour, sound, 18 min
\n<\/strong>Worst Case Scenario<\/em> looks down onto a busy Viennese intersection and a corner bakery. Constructed from hundreds of still images, it presents situations in a stilted motion, often with sinister undertones. Through this technique we\u2019re made aware of our intrinsic capacity for creating continuity, and fragments of narrative, from potentially (no doubt actually) unconnected events. (MW)<\/p>\n
\nAlix Poscharsky, As We All Know, 2006, 16mm cinemascope, colour, silent, 8 min
\n<\/strong>Referencing science fiction, this film is about the discrepancy between scientific world view and everyday life. We know the earth is moving round the sun, but viewed from earth the sun appears to be moving round the earth. This film poses the question whether knowing (or \u2018seeing\u2019) is not just another form of believing, as, ultimately, what is shown in the film, is merely earth\u2019s rotations around its own axis. (AP)<\/p>\n
\nEmma Hart, 2003\/06, 16mm, colour, sound, 11 min
\n<\/strong>By sticking Sellotape to my skin and then peeling it off, I took off the top surface of my skin. I then stuck the tape and the skin to clear 16mm film. It is my actual skin that goes through the projector. It is a film of my total surface area. From head to toe. (EH)<\/p>\n