Tuesday, April 29, 2014

ACMI _ MEDIATHEQUE PROJECT The Shape & Form of Home [Melbourne + Beyond] 2011


Text by Louise Mackenzie: originally appeared in Architect Victoria: Quarterly Journal of the Australian Institute of Architects Victorian Chapter

CINESCAPES......MA|A


As a part of MAA, CINESCAPES, developed by Delia Teschendorff and Helen Sutton, is a program of events which aim to engage the public with their city through the medium of film. The CINESCAPES program forms a filmic journey along the north bank of the Yarra River. It will have several components including the Signal Workshops & Screenings, the Bridge Project, ACMI Mediatheque Project: The Shape and form of Home [Melbourne + Beyond], the AMCI Screen: Liquid Stone and, the FED SQUARE SCREEN.
                                                                                                                                                 


SIGNAL
In September, artists, architects and young people came together for a 2-day workshop to explore the question: “What makes a home?” through film and sound. Their films will be screened for the duration of the MAA Festival. During the SIGNAL workshop, the participants also worked with a sound artist to produce a sound installation to accompany the Signal screenings. Sounds of the City will be played, in conjunction, with the films, through the 18-speaker sound walk.
SCREENING MA|A: OCTOBER 24TH-30TH AFTER DARK 2011

BRIDGE PROJECT
A projection installation by Delia Teschendorff (AUS) and Helen Sutton (UK) will transform Princes Bridge during MAA week. http://www.deliateschendorff.com.au/bridge-project-2/
8pm Tuesday 25th October 2011

ACMI _ MEDIATHEQUE PROJECT
The Shape & Form of Home [Melbourne + Beyond]
Curated by Des Smith & Louise Mackenzie
A program of short films featuring Melbourne on film will be screened daily in the Mediatheque at ACMI.
7 days a week _ 12pm to 6pm. 2011

The theme of this year’s MA|A (National Architecture Week) is “home”, in terms of architecture and the city what could this mean? Helen Gibson* wrote, almost 10 years ago, that she thought the problem with urban planning and design in Australia was that it did not engage with the people who are indented to live in these, proposed, spaces.
In what ways does the form of the city shape our experience of home? What is home _ are we referring to the central city of Melbourne or the house where we live? Perhaps both - the two being intertwined and interconnected, what shapes and forms will Melbourne take? - will we continue to sprawl or densify? - how else could we live?
How do you live? What do you want your home, at an architectural and urban scale, to be like?
The following films tell different ways of how we have lived and do live in Melbourne and other places - perhaps we can take all our experiences and ideas to suggest how we might live. What shapes and forms do we want Melbourne [home] to be? And how do we want to live in theses spaces?
*Helen Gibson “Planning and Communicating to Achieve Sustainable Strategies” in Take 1: Urban Solutions: Propositions for the Future Australian City, Editors Michael Keniger, Geoffrey London, Carey Lyon Ian McDougall Stuart Niven, Peter Williams, The Royal Australian Institute of Architects, Canberra, 2002.

HOME (2007) 2.25 by Zephlyn Neilsen
this film asks is it physical or something intangible?

OLYMPIC GAMES, MELBOURNE, AUSTRALIA 1956 (1956/1999) 9.41 by Straford Brothers
filmed during the games and edited in late ‘90s the film takes us back and also connects us to a more recent Melbourne – collectively linking us all through images of central Melbourne (& Sport!). The Pool, by architects McIntyre, Boland, Murphy & Murphy, has a starting role - the images of which are beautiful

A PLACE TO LIVE (1972) 10.43 by Aust. Gov.
describes to migrants the housing options in Melbourne & Australia in the early 1970s.

WORLD TO CONQUER (1952) 6.06 by Frank & John Straford
takes us to a suburban home with backyard in the 1950s – it brilliantly references classic Hollywood and the silent tradition and it is an outer space experience.

NARRAPUMELAP (1974/2007) 3.42 by Gracemary Cumming & Grace MacGugan
describes the experience of a home – in between states – an almost empty house with strong experienciential memories.

TRIPOLI, MELBOURNE, ME! (2007) 2:07 by Dania Dabliz
describes, two homes, Dania Dabliz tell us what it is to emigrate for her, she also talks about city shapes – density & sprawl – and the experience of these city types.

FROGGIE (2001) 12.22 by Joan Robinson
describes and shows the importance of place lived and how types of living change over time – the young girls in the share house are a new addition to Brunswick, not so much seen in the 1950s.

MARVELLOUS MELBOURNE 1910 (various)
this film takes us all back to a place - 1910 only 75 years, since white settlement (1835) – at the beginning of the gold rush era - in the 1850s - people would have held in living memory a “Melbourne” as home that figured differently, and not in an insignificant way, these experiences of home should also be considered in any proposals we have, in looking presently and forward, for Melbourne as home.

ACMI SCREEN
Liquid Stone: Unlocking Gaudi’s Secrets
A documentary film by Polly Watkins where Mark Burry Architect discusses his work at Gaudi’s Sagrada Familia, Barcelona Spain
Screening during MAA at
ACMI Saturday 29 October at 4pm 2011

Tuesday, April 22, 2014

CINECITY SHORT LIST 2014

CINECITY ARCHITECTURAL FILM PROJECT 2014

"We are delighted that the annual Cinecity Architectural Film Competition will be screened as part of the Australia Institute of Architects Conference Events program, we are intrigued to see how the films will explore the Conference Theme: Making."             
 Sam Crawford, Adam Haddow and Helen Norrie Creative Directors the National Architecture Conference 2014

In a fringe event aligned with the 2014 Australian Institute of Architects National
Conference, Cinecity Architectural Film Project has invited local and international submissions of films which are a 60 second continuous in camera shot. These are architectural films which explore the Conference Directors theme: MAKING. This theme explore ideas about making architecture, which extend upon traditional practice approaches, challenging relationships between architecture and the cultural, the economic, the social and the political. The Conference subthemes are: making culture: to process, making life: to transform, making connections: to engage and making impact: to act.

30 shortlisted films* which explore the conference theme and adhere to the Cinecity submission format, are put forward to the panel of esteemed judges. Each judge will choose and score their top film; signed certificates will be issued to each judges first choice, with an overall first place prize of $1000 AUD.

JUDGES:
We are proud to announce that the Judges for Cinecity 2014 are:


National Conference Directors Choice by:

* SHORTLISTED FILMS *

Atelier Red + Black, Alex Chomicz, Alien Oosting, Amanda Morgan,
Amy Czarkowski, Amy Lunn, Arya Sukapura Putra, Diogo Morato,
Donald Daedalus, Edward Couper and Allie Piehn, Eleanor Suess,
Eric Mukalazi, Alex Lyons, Mugeni Mukanga and Thomas Aquilina ,
Francis Matthews, Hannah Wenham, Ian Aw, Imogen Birch,
Jakub Gozdziewicz , Juan Zamora, Lena Obergfell, Marty Bignell and
Andrew Steen, Myles Prangnell, Namfon Udomlertlak, Philip Ma,
Sabine De Schutter, Situ Studio, Susanne Chan, Ted Sonnenschein,
UDMK, Vernon Cheung, Yeliz Yorulmaz and Baki Kocaballi.
SCREENINGS

The First Prize Winner + Judges Choices will be announced at first screening in Perth.


PERTH - 9th May from 6pm
Making:Fun Festival Fringe Event, at Perth - State Theatre Centre
This is a free open screening event.

SYDNEY - 30 May from 8pm
Vivid Ideas, Museum of Contemporary Art, Sydney.
This is a free event, but numbers are limited register your name on the door here.

MELBOURNE  - 25 July time TBC
Testing Grounds, 1-23 City Road, Southbank Melbourne
Free open screening event.

CANBERRA  -  12th August 6pm
EmAGN- Civic Pub, Whiskey Room
Free screening event email RSVP to emagnact@gmail.com

FOR MORE INFORMATION CONTACT:
Curators: 
 Louise Mackenzie & Sarah Breen Lovett

Cinecity 2014 is supported by The University of Sydney, Metropolitan Re-development Authority Western Australia, and The National Architecture Conference Fringe Events team Making:Fun.


The judges decision is final and further discussion will not be entered into. The judging criteria is based on the technical parameters laid out in the brief and thematic engagement with the Conference Theme "Making."
  

Wednesday, April 9, 2014

CINECITY ARCHITECTURAL FILM PROJECT 2014


CINECITY ARCHITECTURAL FILM PROJECT 2014

"We are delighted that the annual Cinecity Architectural Film Competition will be screened as part of the Australia Institute of Architects Conference Events program, we are intrigued to see how the films will explore the Conference Theme: Making."             
 Sam Crawford, Adam Haddow and Helen Norrie Creative Directors the National Architecture Conference 2014

In a fringe event aligned with the 2014 Australian Institute of Architects National
Conference, Cinecity Architectural Film Project has invited local and international submissions of 60 second un-edited* architectural films which explore the Conference Directors theme: MAKING. This theme explore ideas about making architecture, which extend upon traditional practice approaches, challenging relationships between architecture and the cultural, the economic, the social and the political. The Conference subthemes are: making culture: to process, making life: to transform, making connections: to engage and making impact: to act.

30 shortlisted films, TO BE ANNOUNCED SOON, which explore the conference theme and adhere to the Cinecity submission format, are being put forward to the panel of esteemed judges. Each judge will choose and score their top film; signed certificates will be issued to each judges first choice, with an overall first place prize of $1000 AUD.

JUDGES:
We are proud to announce that the Judges for Cinecity 2014 are:


National Conference Directors Choice by:

SCREENING:

The First Prize Winner + Judges Choices will be announced on May 9th.


The Shortlist of films by the Curators, and Judges Choice will be screened at the 

Making:Fun Festival Fringe Event, at Perth Cultural Centre Screen Western Australia on Friday 9 May  from 6pm. This is a free open screening event.

AND

Vivid Ideas, Museum of Contemporary Art, Sydney on 30 May from 8pm.This is a free event, but numbers are limited register your name on the door here.


* CINECITY SUBMISSION FORMAT & UPLOAD DETAILS 2014:
1 x continuous in camera shot of 60 seconds duration.
Sound recorded separately to the image is permissible, must have rights any sound used.
16:9 Aspect Ratio Square Pixel (1280 x 720) MPEG4 / H.264  format.
No titles or credits on the film itself. (This will be added in by us for screening)


FOR MORE INFORMATION CONTACT:
Curators: 
 Louise Mackenzie & Sarah Breen Lovett

Cinecity 2014 is supported by The University of Sydney, Metropolitan Re-development Authority Western Australia, and The National Architecture Conference Fringe Events team Making:Fun.
Special thank you to our Perth co-ordinator: Rhys Jenkins. 


The judges decision is final and further discussion will not be entered into. The judging criteria is based on the technical parameters laid out in the brief and thematic engagement with the Conference Theme "Making." By entering your film into Cinecity, you allow your film to be included at other re-screenings of cinecity, and you also allow stills from your film to be used in the promotion of Cinecity. In all cases the filmmaker will be acknowledged.
  

Tuesday, April 1, 2014

Sunday, March 2, 2014

CINECITY 2014_MAKING



CINECITY PROJECT 2014

CALL FOR FILMS NOW OPEN

CLOSING 4 APRIL 

GO TO THE website FOR DETAILS

Australian Institute of Architects 
National Conference Fringe Event 
May 2014 
Perth, Western Australia

Sunday, November 17, 2013

CINECITY 2013_ARCHIVE

CINECITY 2013 ARCHITECTURAL FILM PROJECT BRIEF 2013:
In a fringe event aligned with the theme of the 2013 Australian Institute of Architects National Conference Material we invite submissions of 60 second films 
exploring the architectural relationships between the material and immaterial, between the real and imaginary, between an idea and building. 
Selected films are to be screened at Federation Square on 31st May at 6.30pm. Submissions may specifically draw inspiration from one of the 
international or national speakers at this year’s conference, or Judges for this competition.


FORMAT:
Continuous shot of 60 seconds maximum (ie no editing)                                 
Handheld cameras to be used
Digital cameras eg: telephone cameras allowed                              
No introduced props
No post production vision                                                                           
No technical effects
No titles or credits (on the film itself)                                                                     
16:9  Aspect Ratio (1920 x 1080 or 1280 x 720)
MP4/M4V/H.264 max 100MB for vimeo upload                                
Content must be equivalent for G or PG rating.


UPLOAD YOUR SUBMISSIONS:  To our Vimeo site:
Titled:  "Cinecity 2013_Title of Film_Your Name"  
Include:  A 100 word description of film, & 100 word biography of yourself.
Make The 'thumbnail' or 'still' of your film a 16:9 landscape image in TIFF or JPG with your best image from the film. 
This will be used in Federation Square to promote the screening event if your film is selected.

Deadline:  5pm EST 30th April 2013.

Shortlisted films for screening will then be contacted, and asked to email ftp higher res version of the film by 14th May 2013. 
Selected films for screening will be revealed on the screening event 31.05.12

If you do not have a Vimeo account you will need to make one to be able to upload your film to vimeo. By uploading yourfilms to the cinecity vimeo page you give permission for the film to be used in the Cinecity Architectural Film Project, in any promotions, screening and documentation of the event.  The intellectual property remains with the film maker.


JUDGES:
We are proud to announce the following esteemed judges will be making their specific selection for the films to bescreened.









The judges decision is final and further discussion will not be entered into. The judging criteria is based on the technical parameters laid out in the brief and thematic engagement with the subject "material/immaterial" aligned with one of the speakers in the national conference or Judges of the Architectural Film Project.

cinecity architectural film project


Judges Top Picks

BERNARD TSCHUMI
1. Pete Gomes: Path 1
2. ShMoJo: 57 Spring Street
3. Amanda Clarke: A Drifting Up
Commendation: Lindsay Sawyer : The City is the People
Commendation: Eva Marosy-Weide : Untitled

EDUARDO KAIRUZ
1. Amanda Clarke: A Drifting Up
2. Lindsay Sawyer: The City is the People
3. Reuben Nanda: Cognitive Dissonance in Space

JANE RENDELL
1. Amanda Morgan: Impermanence no 9
2. Eva Marosy Weide: Untitled
Joint 3. Lindsay Sawyer: The City is the People
Joint 3. Rupert Owen: Wifly Dovecote

MICHAEL TAWA
1.R.O. : Inland
2.Sabine de Schutter : Rim
3. ShMoJo : 57 Spring Street

RICHARD SOWADA
1. Amanda Morgan: Impermanence #9
2. Alex Chomicz: Glass Ceiling
3. Lindsay Sawyer: The City is People

RICARDA VIDAL
1. Amanda Clark: A Drifting Up
2. Alex Chomicz: Dreaming of Immateriality
3. ShMojo: 57 Spring Street
Commendation: Alex Chomicz : Glass Ceiling

SHELLEY PENN
1. ShMoJo : 57 Spring Street
2. Alex Chomicz : Dreaming of Immateriality
3. Farzane Haghighi : City through the Moving Glass


CINECITY SHORTLIST (Selected by Sarah + Louise)

Sundial: Ryhs Jenkins & Frazer Macfarlane
Gate: Fugitive Images
Francis Matthews, Stephen Mulhall & Paul Quinn: Ghost Estate
Roberto Arce: The Other Language
Cyrille Lallement: Tecture
Mathew Hynam: Cincinnati Jump Cut
John Gatip, Ale Cordova, Andy Ukhtomsky, Tim Joe Mak: The Immaterial Transcript
Diogo Morato: Parking the Wind
Hanna Lewi: 1946
Richard Goodwin: Mystic Alien Departure
Mark McQuilten: Frosty


“The submission requirements were brilliant in their precision and yet allowed for some very successful and imaginative works both in content and in filmic concepts.” 
Architect  
Bernard Tschumi

“The Cinecity Architectural Film Project has been a wonderful and playful opportunity for architects to explore and express their ideas about architecture through film.  In the constrained format of 60 unedited seconds, it has both invited and tested entrants to exercise their capacity for innovation and vision, with some outstanding results.” 
President of the AIA  
Shelley Penn 

“We are very excited to have the Cinecity Architectural Film Project screening during the 2013 National Architecture Conference. Like cinema, the design process for architecture requires us to lure our clients in to 'the suspension of disbelief.' Built form, for all it's material qualities, relies heavily on visual effects and atmosphere, perhaps this is why French filmmaker and writer Rene Clair once noted 'The art that is closest to cinema is architecture.' We look forward to seeing the outputs of artists, architects and film makers that will suspend our disbelief on what material in architecture might mean." 
Directors of National Architecture Conference 2013 
Sandra Kaji-O’Grady & John de Manincor


CINECITY ARCHITECTURAL FILM PROJECT
VIEW FILMS HERE: CINECITY FILM ARCHIVE ON VIMEO
http://www.thecinecityproject.com/

Friday, September 13, 2013

The Carlton New Wave

Over the next month our Australian Perspectives’ mini-season The Carlton New Wave brings to you a series of avant-garde films made right here in Melbourne’s inner-city. Guest blogger and co-curator Louise MacKenzie explains why these films from the ’60s and ’70s are so significant to the revival of the Australian film industry.
http://blog.acmi.net.au/index.php/2013/08/the-carlton-new-wave/  

In the 1960s and ‘70s there was body of films being made in Carlton that film critic and curator Bruce Hodsdon suggests were the seeds of the Australian film revival. The French New Wave influenced these Carlton films, which similarly tell the story of individuals within a specific place.
Exploring the experience of the city within a rapidly changing cultural context, the films offer the opportunity to reflect on the tumultuous ‘60s and ‘70s, informing us of who we are and the interconnections between culture and place.
Telling our own stories is essential, which is what characterised the films and made them important. National Sound and Film Archive historian Graham Shirley states that in the early 1960s “…the feature industry [in Australia] had flickered to the point of extinction…” [1]. At this time the films being shown in mainstream cinemas where overwhelmingly English or American.

With this underground movement in Carlton, we began to relate our own experiences again on film. The Carlton films, while never commercially successful, contributed to the renaissance of Australian filmmaking and culture. Many of those involved went on to work in the commercial sector and perhaps most important, the films began to free up ideas.
Phillip Adams [2] notes that by the 1960s Australian culture had “atrophied” and had been like this for the last half century (61).  He titles a chapter about the re-birth of the commercial Australian Cinema, “The Cultural Revolution”.  Up until then anyone who wanted to do anything culturally or intellectually interesting went to London.[3] According to filmmaker Nigel Buesst, “… Melbourne in the sixties was … a fairly boring city … we wanted to make films that might change that”. [4]
Brian Hodsdon, in discussing the French national cinema, writes that the New Wave films “Mark[ed] the advent of a new modernism into mainstream film narrative, the French New Wave challenged a national cinema aesthetically and re-jigged it structurally”[5].
Despite borrowing these aesthetics and structures from the French New Wave, the Carlton films remained uniquely Australian. By exploring inner-city life in Melbourne, the stories revealed the experience of navigating stifling conservatism and new ways of thinking and being.
While there was immense interaction between the filmmakers – interchanging roles as director, actor and editor on each others films – the cultural activity wasn’t confined to filmmaking. Carlton theatre groups and the staff and students at Melbourne University were also frequently involved.George Tibbits represents this cross-cultural pollination. Aside from acting in Brian Davies’s The Pudding Thieves, he’s also a composer, architect and academic.
Many of those involved on the films were also at La Mama and The Pram Factory including Sue Ingleton, Graham Blundell, Peter Cummins, Jack Hibbard, to name a few. The Melbourne Uni Film Society funded many of the films and there was an interactivity between the Architecture Student Films made at the time and the Carlton group.
Brian Hodsdon calls this movement the Carlton Ripple, which I like – to a point. The French New Wave dwarfs these dozen or so films in an international context, but in a Melbourne or Australian context, without being nationalistic, these films started to tell our stories again. Though not everyone’s experience was related, because the film presented an outsider’s underground view, the Carlton New Wave helped initiate something we still experience today. Apart from being culturally significant, the Carlton Films also constitute a magnific filmic experience.
Perhaps their legacy illustrates why shoe-string, underground films should be given funding support?
[1] In the Australian Cinema: “Chapter 1 Australian cinema: 1896 to the Renaissance” Graham Shirely
[2] There was a film group in Sydney formed in the mid ‘60s called Ubu Film; this group tended to make experimental films while the Carlton group where more narrative based (Brian Hodsdon).
[3] In the Australian Cinema: “Chapter 3 The Cultural Revolution” Phillip Adams
[4] Carlton + Godard = Cinema: An Interview with Nigel Buesst by Jake Wilson
[5] The Carlton Ripple and the Australian Film Revival by Bruce Hodsdon

Sunday, August 25, 2013