Chapters in this book

1. Front Matter i
2. Contents v
3. Acknowledgments ix
4. Process Cinema: Handmade Film in the Digital Age 3
5. Histories of Handmade Film
6. Twenty-Four Signatures per Second: Direct Animation and Gestural Repetition 21
7. At the Limits of Cinema: Marie Menken’s Notebook 40
8. Artisanal Filmmaking in Australia 57
9. Process as Practice
10. Self-Skilling and Home-Brewing: Some Reflections on Photochemical Film Culture 75
11. After: A Beginner’s Guide to Alchemy 85
12. How and Why: A Few Notes Concerning Production Techniques Employed in the Making of My Darkroom Films 90
13. Peter Tscherkassky Manufractures Two Minutes of (Im)Pure Cinema 96
14. Echoes of the Earth: Handmade Film Ecologies 108
15. Signs of the Three: Process and Composition in Works by Bruce Elder, Izabella Pruska-Oldenhof, and Blake Williams 125
16. Notes on the Materiality of Language in Synthetic Sound Film 151
17. Labs and Collectives
18. The Artist-Run Film Labs 165
19. Toward Artisanal Cinema: A Filmmakers’ Movement 172
20. Impalpable Boundary, Invisible Common: From Ciné-Clubs to Artist-Run Film Labs in Korea 194
21. A Collective Charge: Collectif double négatif/ Double Negative Collective 214
22. A Short Overview of the Production and Distribution of Alternative Filmmaking in France 231
23. Letter to Frédérique Devaux concerning Isou’s Traité de bave et d’éternité 244
24. Experimental? It’s Not My “Type”! 247
25. A Dangerous Encounter: Lab Laba-Laba and the New Order’s Archive of Authoritarianism 250
26. Pedagogies
27. The Materiality of Abstract Animation: The Discovery and Analysis of an Unreleased Film by Gordon Webber 271
28. “Sight Unseen”: The Ethos of Handmade Films 279
29. Your Film Farm Manifesto of Process Cinema 292
30. Chemistry Class: Jeffrey Paull, the Escarpment School, and the Legacy of Process Cinema at Sheridan College 294
31. The Sound We See: Growing a Global Slow Film Movement 319
32. A Travelogue in Two Parts: Hand Processing in the Sahara and Finding no.w.here 336
33. Counter Cinemas
34. Some Recipes for Disaster in the Films of Deirdre Logue and Helen Hill 353
35. The Immediate Sensuous: 369
36. Tearing Up the Screen: 390
37. Projection as Performance: Recent Directions in Canadian Expanded Cinema 407
38. Digital Interfaces
39. Practice, Interface, and Outcome: 429
40. Dismantling the Cinema: Restraining Presentness with Locative Media and Experimental Architecture 440
41. Writing the World: Medium Specificity and Avant-Garde Film in the Digital Age 459
42. Hardware Hacking, Software Modding, and File Manipulation: Process Cinema in the Digital Age 483
43. Illustrations 499
44. Contributors 505
45. Index 513