This concerns debates between filmmakers, video filmmakers, film programmers and members of Light Cone’s board of directors, in presence of people from the Cultural arena of Fine Arts and Independent Cinema, which took place at the Finnish Institute in Paris from September 12th to September 14th
Although possibilities of production for moving images are more and more common – efficiency and low cost – one notices a persistence from artists to use silver film in a context where Experimental Cinema has an increasingly important institutional visibility.
The rush of interest for cinematography for today’s artists and in the art world is perceived through several phenomena: installations with 16mm films in exhibition spaces are multiplying, fine art artists widely produce works that use silver films and film codes, some well known filmmakers are represented by galleries, etc…
Moreover, the recognition gained by Experimental Cinema is underlined through its increasingly significant presence in film festivals, exhibitions and contemporary art venues whereas the possibility of more regular screenings within the independent cinema network remains largely underexploited.
Where and how to distribute Experimental Cinema today? In which direction to spread means of distribution established and supported for a quarter of a century by Cooperative Associations, Museums and other Cultural venues
Light Cone has initiated a digitalisation programme of a certain number of film works issued from its catalogue and from now on, more than a dozen film works and extracts can be seen on its site. How to define all the possibilities that digital media offer through the distribution of Light Cone’s collection? Filmmakers, owners’ rights and film programmers will debate on this matter.
Between the decision of putting extracts or full version of films on line, what do film programmers think? Will this new access to film works transform the relation between the public and Experimental Cinema? Do film programmers see a danger in relation to the audience rating of the screenings they organise? Or will it create on the contrary, a renewed interest, new film programming and publication on Experimental Cinema? How will film programming change with this new tool?
Following the crisis Light Cone went through last year, the association enters a new phase of its existence. A new team is being set up and Light Cone will certainly move soon into new premises in Paris. What do filmmakers, owners’ rights and film programmers expect from our structure in the coming years? How can it be developed and what kind of new services should be put in place?
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