Following the sell-out success of our partnership with Edge of Frame at our last three festivals, EOF return with four curated programmes of work at the intersection of animation, experimental film and artists’ moving image. Specially curated by Edwin Rostron- the London-based artist, animator, writer, curator, editor of Edge of Frame blog and festival juror these programmes celebrate this incredibly rich and vibrant, yet often marginalised and hard to define art form.
A programme of five recent works which share a concern with ideas of the surface in relation to the moving image, from the film negative to the computer screen, though each approaches the theme in markedly different ways. Covering considerable ground both geographically and formally, the works utilise film (Super8, 16mm and 35mm) and digital formats, often combining elements of the two to captivating effect. Beyond their often quite startling formal qualities these works delve into rich personal and social histories, spiritual quests and conceptual enquiries. From Hackney to Hong Kong, and from entrancing flicker to meditative spaces, these works offer a dynamic vision of contemporary practice.
Follow the links to find out more about our other Edge of Frame programmes: Brushwork – The Painted Animation; Memento Stella and Potamkin.
With an introduction by curator Edwin Rostron and filmmaker Q&A
At Close-Up Cinema book tickets
E-Ticket (Simon Liu, Hong Kong/USA/UK)
A film sixteen thousand splices in the making. 35mm photo negatives and moving pictures are obsessively cut apart, reshuffled then tape spliced together inch by inch in rigid increments.
2019, 13min
A Ghost Eats Mud on the Mountain (Richard Forbes-Hamilton, UK)
An abstract journey set against a backdrop of spaces in Hong Kong. Created utilising a combination of still photography and digital animation techniques.
2018, 27min
Please Step Out Of The Frame (Karissa Hahn, USA)
Using Super 8, a desk, and a laptop to create a playful and thoughtful visual study of the “frame-within-frame” concept and the choreography between body and screen.
2018, 4min
PHX [X is for Xylonite] (Frances Scott, UK)
An exploration of the history and usage of plastic. Three-dimensional animations, distorted vocal recordings and the words of Roland Barthes connect the founding of the first plastics factory in 1866 and the development of cellulose nitrate, a key element in the creation of film stock.
2019, 13min
Re-vue (Dirk de Bruyn, Australia)
A flicker-fest lamenting a lost relationship with narrative cinema, by which it is forever marked.
2017, 6min
