Dream Technologies: Early Works of Tony Conrad
Dream Technologies: Early Works of Tony Conrad

24 August 2016—7:30pm-10:20pm
Pacific Cinematheque, 1131 Howe Street

S Add to Calendar 2016-08-24 07:30 PM 2016-08-24 10:20 PM 6 Dream Technologies: Early Works of Tony Conrad Tony Conrad (March 1940 – April 2016) was an American filmmaker, musician, composer, writer and teacher –– a pioneer of both structural film and drone music (including collaboration in the group Theatre of Eternal Music, also known as The Dream Syndicate, with Marian Zazeela, John Cale, Angus Maclise and La Monte Young). A dynamic visionary, Conrad abandoned and dismantled traditional Western composition, influencing bands like Sonic Youth, and condensed the principles of film to bare essentials of embodied subjective experience, famously in The Flicker (1966), considered a cornerstone of structural filmmaking.
In honour of the artist and his contributions to experimental film and music, Cineworks, Western Front and The Cinematheque together present Dream Technologies: Early Works of Tony Conrad. This event includes six of Conrad’s early short films on 16mm, preserved and managed by Canyon Cinema, and an experimental music interlude, drawing from one of Conrad's important early musical collaborations.

Warning: this event includes flickering light and is potentially hazardous for photogenic epileptics or photogenic migraine sufferers.

Articulation of Boolean Algebra for Film Opticals (Finale) (1975); 10 min
Articulation of Boolean Algebra for Film Opticals is one of the most austere and highly structure-dependent films ever, made without images other than six patterns of alternating black and white imposed upon the full surface of the film strip.

Film Feedback (1974); 15 min
Made with a film-feedback team which Conrad directed at Antioch College. Negative image is shot from a small rear-projection screen. The film comes out of the camera continuously (in the dark room) and is immediately processed, dried, and projected on the screen by the team. What are the qualities of film that may be made visible through feedback?

Straight and Narrow (1970); 10 min
Straight and Narrow is a study in subjective color and visual rhythm. Although it is printed on black and white film, the hypnotic pacing of the images will cause viewers to experience a programmed gamut of hallucinatory color effects. Straight And Narrow uses the flicker phenomenon not as an end in itself, but as an effectuator of other related phenomena. In this film the colors which are so illusory in The Flicker are visible and under the programmed control of the filmmaker. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.

Eye of Count Flickerstein (1967); 7 min
The sustained dead gaze of black-and-white TV "snow," captured in 1965 and twisted sideways, draws the viewer hypnotically into an abstract visual jungle.

Sonic interlude; 28 min
Curtains are drawn across the screen for this experience: a deep-listening journey through expansive topographies of electronic sound, by Tony Conrad and early collaborators.

Flicker, The (1966); 30 min
This is a notorious film; it moves audiences into some space and time in which they may look around and find the movie happening in the room there with them. Much has been written about The Flicker. It is a library of peculiar visual materials, referenced to the frame-pulse at 24 frames per second. All flickering light is potentially hazardous for photogenic epileptics or photogenic migraine sufferers.

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Images Reimagined with the Oxberry Optical Printer
Images Reimagined with the Oxberry Optical Printer

13 August 2016—12:00pm-4:00pm
Cineworks, 1131 Howe Street (Lane Entrance), Vancouver, V6Z 2L7

W Add to Calendar 2016-08-13 12:00 PM 2016-08-13 04:00 PM 6 Images Reimagined with the Oxberry Optical Printer Annex Volunteer Admission: $45 + taxes
Member Admission: $70 + taxes
General Admission: $95 + taxes
[Registration >>](

Learn the basics of Cineworks' mighty Oxberry optical printer! Make duplicates, prints, and limitless analog effects on 16mm and 35mm. Participants will learn a variety of techniques including but not limited to:
Basic functions
Controlling exposure
Balancing colour
Multiple exposures
Step printing

Take advantage of the small class size and learn how to reimagine your images. Space is limited to four.

A little about the printer:

The Oxberry optical printer is the cream of the crop among analogue film printers and it’s applied for manually created analogue special effects on 16mm and 35mm film. An optical printer is a device consisting of one or more film projectors mechanically linked to a film camera. It allows filmmakers to re-photograph one or more strips of film. With special lenses for resizing and distorting the material with projectors sending the film image to the camera, fade-outs and fade-ins, dissolves, slow motion, fast motion and image overlays, extraordinary results can be easily achieved. More complicated work can involve dozens of elements, all combined into a single scene.

Instructor: C.J. Brabant

For the past decade, film artist cj brabant has explored the regeneration and reformatting of the small-gauge film image. Working to make the familiar unfamiliar, brabant creates visual abstractions that yield the unseen and unfelt by means of mechanical and DIY processes that fracture, disassemble, and reassemble isolated moments.
Cineworks, 1131 Howe Street (Lane Entrance), Vancouver, V6Z 2L7 Cineworks YYYY/MM/DD
Mercado de Futuros (Futures Market)
Mercado de Futuros (Futures Market)

20 July 2016—7:20pm-9:10pm
Cineworks Studio, 1131 Howe Street (lane entrance)

S Add to Calendar 2016-07-20 07:20 PM 2016-07-20 09:10 PM 6 Mercado de Futuros (Futures Market) Cineworks and DOC BC present:

Mercado de Futuros (Futures Market)
110 min; Colour; 2011;
Director: Mercedes Àlvarez;
Spanish; English subtitles;

$5, Members / Concessions; $8, General Admission; cash only;

A film essay in tableaux, Mercado de Futuros (Futures Market) traces the connections between memory, public space, and the real estate bubbles that led to the international financial crisis.

Beginning with Greek lyric poet Simonides of Ceos' invention of the 'memory palace' - in which memories are arranged in an imagined physical space - the film suggests that the recent flurry of credit-fueled property development has depleted not only national treasuries, but the distinctive characters of these nation's cities -- and therefore, their cultural memory as well.

The film takes us inside the fluorescent-lit showrooms of real estate expos, where developers hawk shares in hotel and condo projects in places from Dubai to Miami. Outside, cars crawl forward on endless stretches of anonymous highway whose "straight lines point in the direction of promises." This is Spain, but it could be almost anywhere in the world.

"A compelling meditation on dreams that doubles as an expose of how cheap those dreams have become, 'Futures Market' is a wise and fulfilling film that bears lofty comparison with the work of Spanish maestro helmers Victor Erice and Jose Luis Guerin." —Variety

"Draw[s] attention to the invisible architects of the postmodern economy at the moment before it crashed, and...between what is discarded and devalued and the inflation of false values and dreams." —Sight & Sound

"Devilishly funny." —Louis Proyect, Counterpunch

"Álvarez, like [Chris] Marker, is a master of the essay film. She trusts the viewer to make meaning of her juxtapositions, repetitions, and colour-saturated tableaux." —Janina Ciezadlo, Afterimage

Mercado de Futuros (Futures Market) is supplied by [Icarus Films](
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Integrating Visions: The Director–DP Dynamic
Integrating Visions: The Director–DP Dynamic

3 July 2016—2:00pm-5:00pm
Cineworks Studio, 1131 Howe Street (lane entrance)

W Add to Calendar 2016-07-03 02:00 PM 2016-07-03 05:00 PM 6 Integrating Visions: The Director–DP Dynamic Membership Admission: $25 + taxes
General Admission: $35 + taxes
2.00pm – 5.00pm
Registration: [](

An afternoon workshop unpacking the essential ingredients for successful collaboration between the Director and Director of Photography (DP) in film and video production.

The dynamic between Director and DP plays a crucial role in maximizing a script’s visual potential. Directors and DPs are each responsible for powerful forms of visioning that must be integrated for efficient and effective production, and knowing how to negotiate this integration is an essential professional tool for each individual in one of these roles.

Directors oversee the coherence of complex elements during production and a dependable dynamic with the DP is a keystone in this structure. The DP’s artistic vision and technical skill are essential ingredients to success, but getting the best results out of available resources and conditions goes deeper, requiring sensitivity to the bigger picture behind each scene, and to the unique interpretation each actor can bring to a performance.

Join Director Marshall Axani and Director of Photography Naim Sutherland, as they discuss the working relationship that has brought them through three award winning short films, Crazy8s "The Vessel" (2012), Hot Shots Shorts Winner and winner of 13 Leo Awards "Anxious Oswald Greene" (2013), Cold Reading Series and Harold Greenberg Shorts to Features winner "Mina.Minerva" (2014) and into their first feature film together, an as of yet untitled Telefilm Microbudget Production Program winner.

In this workshop, participants will:

* Examine elements that make the distinctive look and feel of each film, such as colour palette, lighting, lensing and camera movement, and how these can communicate the emotional subtext to the audience.
* Discuss how to manage a "visual image system" by utilizing elements like hair, makeup, and wardrobe.
* Directors will learn what to look for when hiring a DP, and DPs will learn what to bring to interviews.
* Watch and participate while Naim and Marshall work out the visual elements of their upcoming feature film.


Acclaimed for his stunning optical style, Naim Sutherland is a visual narrator who has a passion for fantasy and period genres. His lens choices, astute use of the art design, colour palette and frame movement to speak in emotions using tone and imagery throughout, has won him several awards including best cinematography at the Vancouver Short Film Festival and a Leo Award both in 2014.


Marshall Axani is an award winning writer and director who has established himself as a versatile and highly ambitious storyteller with a focus on emotionally engaging narrative films. Marshall has also secured a reputation as a skilled pitcher, winning some of Canada’s top film grants from which he has been able to create an array of short films.

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Film & Media Showcase: Cineworks | WIFTV | DOC BC
Film & Media Showcase: Cineworks | WIFTV | DOC BC

29 June 2016—7:00pm-9:30pm
Cineworks Studio, 1131 Howe Street (lane entrance)

S Add to Calendar 2016-06-29 07:00 PM 2016-06-29 09:30 PM 6 Film & Media Showcase: Cineworks | WIFTV | DOC BC Doors, 7.00pm
Screening, 7.20pm

The Film and Media Showcase is a forum for members of Cineworks, WIFTV and DOC BC that provides filmmakers with an opportunity to share their work with other artists, across genres and in a variety of lengths, in a space dedicated to discovery, discussion and inspiration. Each screening will be followed by a question and answer session with creators, with informal conversation and networking afterwards.

Paradise Island; 25 min; HD Video; 2015
Filmmaker: Kathleen Jayme (WIFTV)
Every year, one million tourists arrive in Boracay to get away from reality… but what is the reality for those who live there and cannot escape it? Documentary filmmaker Kat Jayme travels to Boracay, the crown jewel of the Philippines and her family’s favourite vacation spot -- but this time she is not on holiday. With the help of the local children of the island, who make sandcastles for money, she discovers what life is really like on Paradise Island.

Kathleen Jayme is a Canadian filmmaker based in Vancouver, BC. In 2011 she graduated from the University of British Columbia’s Film Production Program and was awarded the H. Norman Lidster Prize Scholarship, honouring an outstanding documentary student. Kathleen received an internship at the National Film Board of Canada, and was later offered a full time job. She currently works at the NFB as a Production Coordinator where she brings what she learns from experienced directors, editors, and producers to her own films. Kathleen just completed her latest film, “Paradise Island,” which was featured at the 2015 Cannes Short Film Corner.

L.A. Beat; 85 mins; HD video; 2016
Filmmaker: Christoph Kositza (Cineworks)
While taping an episode of a popular police reality TV show, "L.A. Beat", a cop and a film crew are taken hostage by a vigilante hell-bent on revenge. Disguised as a police officer, the hijacker cruises the streets and alleys of the Los Angeles underbelly, delivering his own twisted style of justice. The film crew follows and records the action, as the vigilante hunts down drug dealers, vandals, pimps and more.

Christoph Kositza, Anthony Risling and Philip McAlary form KRM Films, a Vancouver-based production team dedicated to creating visceral and entertaining projects for audiences worldwide. L.A. Beat is the second feature film produced by Christoph Kositza and Anthony Risling, and the first title produced under the KRM banner, along with Philip McAlary. The team is now in pre-production for their third feature film.
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Making Sense of the TPP: Impacts on Copyright and Canadian Artists
Making Sense of the TPP: Impacts on Copyright and Canadian Artists

22 June 2016—7:00pm-9:00pm
Cineworks Studio, 1131 Howe Street (lane entrance)

S Add to Calendar 2016-06-22 07:00 PM 2016-06-22 09:00 PM 6 Making Sense of the TPP: Impacts on Copyright and Canadian Artists Presented by Cineworks and DOC BC
Doors: 7.00pm

In early 2016, Canada was one of 12 countries to sign the Trans-Pacific Partnership, a far-reaching international trade agreement with impacts on every facet of our daily lives. Despite signing, Canada has not yet ratified the agreement, and is currently seeking input from Canadians before moving forward with implementation. Throughout negotiations, one of most contentious issues for has been the Intellectual Property chapter, and the changes it will bring to Canadian copyright legislation. In this talk, we will explore the revisions to copyright that would be required by the TPP, and examine the implications of this agreement on Canadian art and cultural production.

Meghan Sali is a digital rights and communications specialist with OpenMedia. Over the past two years, she has been campaigning on the Trans-Pacific Partnership and its impact on our the way Canadians create, share, and collaborate. In particular, OpenMedia's advocacy on the TPP has focussed on the impacts of changes to copyright law in the Intellectual Property chapter of the agreement.

You can follow Meghan on twitter @megasali

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Cineworks encourages the production of new media art works and their dissemination by actively providing new opportunities for artists through inhouse initiatives.

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How to Volunteer at Cineworks

Volunteering at Cineworks is a great opportunity to connect with like-minded people in Vancouver’s media arts community. Members and non-members alike are welcome to volunteer, although privilege will be given to current members in good standing. Please visit our Cast/Crew/Wanted Ads section if you are looking specifically for on set experience.

Cineworks is a member-driven organization and runs on its core of amazing volunteers. All current members are expected to volunteer a minimum of 10 hours per year as part of your membership duties.


The Annex Production Facility

Located in Vancouver’s Railtown District in the historic Ironworks Building, Cineworks Annex is an analogue studio specializing in celluloid cinematic practices. The Annex is a communal studio space that is home to our past Local Artists in Residences and houses a dark room, optical printing, Steenbeck flatbed editor, film processing/printing facilities, and an animation stand.

We recommend doing an orientation for those interested in learning more about the Annex. It is a mandatory step before using the facilities. To schedule an orientation, please contact When you come to the Annex for your orientation, please ring the doorbell on the right side of the metal gate at the bottom of the slope.

Please note that the Annex does not have regular office hours. If you want to go to the Annex you have to book an appointment. Send an e-mail to for inquiries about the Annex or if you want to go to the annex for an orientation.

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