Cinematic Surfaces: Film as Printmaking

In this course, we will work with cinefilm across handmade, cameraless and direct animation processes. Along with exposures made through the camera, we will layer techniques directly within the surface of the film. Participants will consider the film base as a continuous surface, as opposed to a sequence of frames. Through this contextual reframing of cinefilm, you will work to produce a short experimental film loop. 

This is a three-part, online workshop taking place over the following Mondays in July 2025: 14th, 21st, 28th, July, 6-8pm (BST)  

Note about experience level:
In order to follow along with the practical exercises and self-directed tasks, participants should have some knowledge and experience of working with photographic film, particularly moving image, and ideally have access to a 16mm camera (cine or still - examples of 16mm still cameras can be given). If access is an issue, producing work entirely cameralessly will be possible, but will just result in a different kind of work.

Tools: 

- A changing bag or darkroom / a room (eg bathroom)  that can be light - tight (for loading the film).
- A dark drying area (eg. darkroom tent or a bathroom that can be darkened).
- 16mm camera (if you do not have access to one, we will provide options during the sessions to work without one).
- 3+ reel dev tank or bucket in darkroom.
- A thermometer.
- pH paper / litmus paper.
- A long / large piece of glass.
- Weighing scales.
- Gloves (we recommend reusable kitchen sink gloves such as marigolds).
- An apron / lab coat or old clothes. 

Materials:

- B&W negative 16mm film (we recommend Kodak Sound Film 3378 to work under red light, but any b&w is fine. Some sound film can be purchased from us, this needs to be requested in advance). 
- Powdered vitamin C.
- Sodium carbonate.
- Cheap instant coffee (if you do not have prior experience in working with plant based developers).
- Hydrogen peroxide (12%). 
- Vinegar (7%acetic acid) or lemon juice.
- Iodised salt.
- Water: tap water or rain water.
- Photographic fixer (avoid hardening fixers).
- Assorted items for photograms: Anything that creates an interesting shadow at a scale similar to the film. Eg. paper cutouts, small plant material, paper clips, grains.
- Assorted substances for chemigrams: Grains/ powders from the kitchen or garden such as sugar, herbs, spices, soil, tea. As well as anything that is foamy, sticky, waxy or oily such as soap, wax, oil, clay, vaseline, paper-based tapes.

Session 1 -  The Dynamic Surface (14th) 

In this session, we will discuss the unique characteristics of cinefilm in the context of handmade approaches to cinema, sometimes referred to as ‘Process Cinema’. Considering how Process Cinema enables us to connect with our environment (including humans and more-than-humans), our own physicality, and the relationship between them all. We will also cover concepts of attention, agency, and care.  Using these frameworks as a departure point, we will look at how the unique properties of cinefilm can be experimented upon, with prints and marks made using a camera, as well as with the hand and the environment. What can we do with the image if we hold back from fixing it? How many more options do we have? This session will also cover an introduction to developing negative as reversal.

Session 2 – Manual Cinematics  (21st)

In this session, we will review the test footage you have shot, developed and reversed (but didn’t fix) and briefly troubleshoot. Taking time to step back and look at what we have to work with. Even with a clear piece of film, we have possibilities! We will discuss possibilities and the foundations of handmade film practice, introducing layering techniques outside the camera. Working manually - both when home developing and when creating the work itself - gives us more options than when relying on industrial dogma. It also helps us remember the impact our work has, and it helps orientate us in relation to our immediate environment and the apparatus we use. Throughout the week, you will be encouraged to continue working on the surface of your film.

 Session 3 – Integrated Approaches (28th)

In this session, we will refine the techniques learnt over the past 2 weeks, developing them towards specific projects and expanded cinema experiences. We will consider adaptations and creative ideas for integrating colour, as well as addressing and managing any waste materials and chemistry generated throughout the weeks.

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For concessionary tickets, please email us. (sustainabledarkroom@gmail.com)