Article Five: Film / Cinema

Film / Cinema


Few of us in the company understand film. We understand (or at least, we have continued to work with)  images, sounds, texts, bodies, spaces (perhaps theatre, perhaps site), but we do not understand film. We are obliged to learn to think in terms of film, as opposed to video; analogue, as (somewhat) opposed to digital. Video is economical; Film, profligate. Video is convenient; Film, exorbitant. Video is ubiquitous, so film it must be.


Might we prefer to say that the photographer, the cinematographer, commits, rather than captures, the image? Before the ruins of the cinema become something else, be they built around or entirely erased, we shall commit them to film. In the event of the screenings, the remnants of an architecture, like the shadow of the past will unfold.


The use of film requires a diligence, a discipline and a willingness to accept what comes out in processing. Between exposure and print screening, what was imagined will have been transformed.


The monument will be wrought in the commitment to film of the image and idea of cinema – as a place that we might still gather. The architectural plans were drawn up in 1913 and the cinema was erected in 1914. A hundred years after it was imagined, drawn, scaled, something of the cinema survives.It is receding from living memory, but it still occupies a physical space and testified to an event. This is almost unremarkable, but, nevertheless, we have decided to mark it.