This programme presents seven recent film works from Australian diy cine experimentalists Richard Tuohy and Dianna Barrie exploring the primitive apparatus of cinema and the relation between hand and machine. Richard Tuohy will be in attendance for a Q&A session with Sally Golding after the screening.

"Cinema was the first inescapably mechanical art.  But in this post-mechanical age, the traditional apparatus of cinema has all to rapidly been deemed obsolete and primitive. Yet the handing over of industrial machinery to anti-industrial users represents one of the prime creative opportunities for re-appraising and re-interpreting the nature of ourselves as transformed by the age of machines. Post-mechanical age, the humanness of the machine can be made evident. Post mechanical age, machine craft is the new handcraft." – Richard Tuohy

Crossing
Richard Tuohy
2016 | 21 min | 16mm

Across the sea. Across the street. Cross-processed super 8 footage of fraught neighbours Korea and Japan in grain focussed enlargement. 

Blue Line Chicago
Richard Tuohy, Dianna Barrie
2014 |10 min | 16mm

Architectural distortions of the second city.

Last Train
Dianna Barrie, Richard Tuohy
2016 | 12 min | 16mm

Found in the (now lost) archive of Lab Laba Laba, footage from a trailer for the Indonesian film Kereta Api Terakhir (The Last Train) melts into a soup of chemigrammed perforations. A film made in seven cities, and none.

Etienne’s Hand
Richard Tuohy
2011 | 13 min | 16mm

A movement study of a restless hand. Made from one five second shot. Sound constructed from an old French folk tune played on a hand-cranked music box.

Ginza Strip
Richard Tuohy, Dianna Barrie
2014 | 9 min | 16mm

The Ginza of fable and memory. This is the first film I have finished using the "chromaflex" technique that we developed. This is a very much hands on colour developing procedure that allows selected areas of the film to be colour positive, colour negative, or black and white.

Dot Matrix
Richard Tuohy
2013 | 16 min | 16mm

Dot Matrix is dual 16mm film involving two almost completely overlapping projected images.  The "dots" were produced by photogramming sheets of dotty paper (used for manga illustrations) directly onto raw 16mm film stock. These dots were then contacted printed with "flicker" (alternating black frames) creating strobing "interruptions" to the dots. The drama of the film emerges in the overlap of the two projected images of dots. The product they make is greater than the parts. The sounds heard are those that the dots themselves produce as they pass the optical sound head of the 16mm projector.