IN A DERELICT INCHICORE WAREHOUSE, AN EXPERIMENT WITH CINEMA
Thanks to Gregory Dunn for the photograph and Damien Murphy for the write up.
This Saturday sees the return of Open Night Cinema. WTF is Open Night Cinema, you ask? Good question.
“It’s a bit different,” says Michael Higgins, film-maker and
co-founder of Open Night Cinema. “It’s hard to pin down, but it’s like
art-gallery cinema.”
Open Night Cinema (ONC) is a non-profit, experimental film studio and
cinema that Higgins started with actor Cillian Roche in early June.
Located in a derelict industrial warehouse in Inchicore, ONC
experiments with and showcases techniques of expanded cinema, blending
live performance, cinematic exhibition and other multidisciplinary art
practices.
Its first night saw a showing of Higgins’s feature film At One Fell Swoop, which was preceded by a performance of Stone Boat, a theatre performance piece based on a portion of poet and philosopher John Moriarty’s Dreamtime.
“Stone Boat is very much a theatre performance piece, and I’m bringing elements of cinema to that,” Higgins says.
The performance ran for about half an hour before the film. It was a
“one-man show in near complete darkness with light and projection
trickery.”
Using old analogue Super 8mm and 16mm projectors to provide abstract
effects – either spot lights or film loops – adds textures to and
reinforces some of the content of John Moriarty’s words, says Higgins.
“His words are very poetic, very hypnotic, and these elements of
projection give you something else to hang on to in terms of visual
aesthetics,” he adds.
Another event they ran was Super-ate Smut on Screen.
“I’m a collector of 60s and 70s porn,” Higgins says. “I tracked down
some more and so it was a live performance of projected smut from the
60s and 70s.”
Regrettably, there was no preceding live performance. The performance
element Higgins is talking about comes from him as projectionist.
“You’re not in a projector booth; it’s visible. You know, pulling the
film through, scratching it, allowing it to melt and to jam and get
chewed up in the projectors. There was also live audio soundscapes
running off the projectors like industrial mechanical sounds that feeds
back into the space.”
What you got, says Higgins, was this violent, energetic performance
that meshed perfectly with the industrial environment in which is was
staged.
The warehouse was a perfect fit, “because of the nature of the Super 8
film: it’s plastic, it’s material, it can melt, and it can destroy
itself just as much as some of these industrial factories do when they
lie around for ten years.”
They ran Stone Boat again earlier this month, but this time
they’d extended it and done away with the feature film that had followed
it originally. Stone Boat is lyrically and verbally very heavy, says Higgins, and they wanted to slow it down.
Using the huge space offered by the warehouse, they staged a
360-degree performance with multiple projection screens around an outer
circle and then a projector that pivoted around a 360-degree point on
the inner circle.
Actor Cillian Roche would move around the projectors and the
360-degrees space, and audience members were either on the outside
circle looking in or the inside circle looking out.
“We used Super 8mm projectors as spot lights, a lot of candles,
hanging tungsten light bulbs; it was a very atmospheric,” says Higgins.
“You get a very small, domestic warm-feeling space in the darkness of a
giant industrial warehouse.”
While this form of cinema is a break from traditional cinema, Higgins
says that it is heavily influenced and inspired by cinema itself and
the history of cinema, not just what it produced but the techniques of
how it was produced.
Open Night Cinema is doing it again this Saturday night in association with Experimental Film Society (EFS), of which Higgins is a member. ONC will be showing a unique programme of underground short films.
EFS members Rouzbeh Rashidi, Dean Kavanagh, Maximilian Le
Cain and Michael Higgins will design, present and document the event,
engaging fully with the site and the audience.
The resulting footage will make up part of their “mammoth upcoming feature film Homo Sapiens Project 200.”
Here’s what the press release says: “The goal is to employ this
vortex-like space as a projection and shooting location that functions
as a living organism containing the memories of a future cinema.”
- Damien Muprhy, Dublin Inquirer
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