*FILM* LEAPS INTO 2001

The end of the millennium revived interest in making movies on FILM. What caused our next wave? Celebrating 100 years of the moving image? a slurry of docs with archival images? the rise in consciousness about image permanence? maybe just the dull roar of video? As filmmakers toast its long life, we see Kodaks warming up too, researching what we like, fleshing out Super 8 on their website, even giving us a new stock. Its Vision 200T 7274 negative (they like it in the U.K.) We hope it generates heat for movies here and complements the excellent line up of reversal stocks that we know and love: beautiful Plus-X and Tri-X black and white reversal, our magnificent Kodachrome, and that other color reversal Ektachrome 7240. (film p. 3)

News- The first national symposium on the preservation of small gauge motion picture film is planned for November 5-11, 2001 in Portland, Oregon. Concerned archivists and fans of 8mm and Super 8 film will gather to discuss the challenges and best practices for preserving the incredible films of artists and families that record a wide range of human activity and interests. (to p. 17)

C O N T E N T S

Super 8 filmstocks

Used hardware

Book review

Publications

Regular 8mm

Viewer rehab

Preservation

Gigs & festivals

Congratulations

and their fans!

OUR MISSION: We are dedicated to 8mm film and to enabling the artists and families who create, show, cherish, promulgate, preserve and enjoy little film gems.

The International Center for 8mm Film is an educational organization founded in 1983 to help keep 8mm film vital. IC8 founders are filmmaker advocates Bob Brodsky & Toni Treadway. Through IC8, we encourage, educate and reach out to give technical assistance. Send IC8 (a 501c3 org) donations if you can help. As Brodsky & Treadway we keep a roof over our heads with our speciality transfer studio (celebrating 20 years this month!) B&T donate editorial time, space, phone and postage to make this newsletter come to you free.

Information and listings are here to help filmmakers make films and families retrieve their own moving images. Listings do NOT constitute a recommendation, endorsement or warranty of any person, place, product or service. If a lab is not listed, either filmmakers have griped or we don't know it. Your experience counts so please send postcards with news and reviews.

Hello to my old readers. You have not missed any issues, #21 was October 1998. My apologies for the hiatus and for correspondence left unanswered; family matters took over. I appreciate your patience and thank you for inquiring about me. Im focusing my energy on the next projects, a new book and www.littlefilm.org --Toni, editor

Toni Treadway, editor & publisher, ©2001 Antoinette Treadway. IC8™® littlefilm™® B&T's Little Film Notebook™® All contents © 1989-2001. All rights reserved. Other products, services and registered terms mentioned herein are probably property of their respective manufacturers. Copying, posting, reprinting or excerpting this newsletter needs written permission and acknowledgement. Please contact us before use. Thank you for showing respect for our work.

QUESTIONS? Please telephone Toni at B&T: 978 948 7985. Please send comments, news and additions by classic mail, thanks.

To find good gear....LOOK FIRST in family closets. Ask elders who are still photographers or have expensive video gear if they ever shot film. Stop at flea markets with batteries in your pocket to test cameras. BEWARE of overpriced junk on the Internet. To test a camera that has not been used in a long time, make sure the battery compartment is clean; then run the camera empty with a whole new set of batteries until they die. This will help redistribute the lubricants that have settled inside. After a while the camera should sound smoother. Next load fresh batteries and a roll of film. Make careful notes on focus, exposure, frame rates, framing, other features you care about. Project the film after you get it back from the lab. Focus on the grain. Is the image in focus? Raise the frame line. Is it fairly steady? Image steadiness and the ability to focus are bare necessities.

Here are personal favorites of filmmakers. Listing does NOT imply an endorsement or guarantee. Each buyer must make an agreement with each seller about testing and mutually agree to a returns policy.

Karl Thomas, Tucson AZ****best used gear, fair prices. tel: 520 888 3992, postal mailing address- P.O. Box 50672, Tucson AZ 85703. See Karl's website. He's strong in 35 and 16mm but also sells Regular 8mm and Super 8 viewers, splicers, rewinds, and such, even projectors and cameras sometimes.

Atlantic Camera, repairs, some sales. NY tel: 516 587 7959

Chambless Cine Equipment, Elijay, GA tel: 706 636 5210 ("America's premier Bolex dealer"). 24 hr. fax: 706 636 5211

Halmar, Canada 905 356 6865 Hal & Mary Cosgrove helped Single 8 be strong, major in video but sometimes have great film gear.

Irv Higdon, Granada Hills, CA, spec. in Elmo projector repairs, tel: 818-365-0385. http://www.ijmincorporated.com/

JAC Cine, Erie, PA Jim Carpenter tel. eve after 7pm: 814 454 2022 mics, sound, lighting equipment, panoramics.

Lloyd's Camera, Hollywood tel: 323 467 7189 FINAL SALE

Kiev/USA tel 203-531-0900 Super 8 Kinoflex cameras $275.

Leon Norris, PA tel: 610 275 1225, reliable projectors, parts, and repairs. Call after 5 p.m. EST.

Steve Osborne, OH 24 hr. Tel : 937 296 9036 or fax: 937 296 1084. Get on his WANT list.

BOOK REVIEW BOOK REVIEW BOOK REVIEW

A History of the American Industry

1897-1979

Clear your favorite reading spot and some time for Alan D. Kattelles hefty new book: HOME MOVIES A History of the American Industry 1897-1979. This is a monumental, 15 year labor of love. In 410 pages, with 321 remarkable illustrations, Alans book puts faces on the inventors and engineers that gave us home movies. He examines the genius, luck, and gaffes that propelled the home movie phenomenon. He starts with the Ancestry of the Motion Picture and early experiments with Motion. He gives a whole chapter to Amateur Equipment prior to 1923, two big chapters on George Eastman and Kodak, a whole chapter each on Bell & Howell, other competitors, color, and technical advances after World War II.

By page 204 we get the "Next Big Advance-Super 8 in 1965" then on to Existing Light, Sound, with some comments, like stage aside, on that thing called video, the literature and organizations of amateur motion picture, and a chapter just for hardware collectors. Not only is Kattelles language calculated to be helpful to a lay reader, but the author departs from strict chronology to complete the conceptual story. This choice is crucial to understanding the highly individualistic path of developments in the American marketplace. At times I wish for more mention of concurrent technology in Europe and Japan, but Kattelle struggled to limit the size of the work, and chose to focus on the US industry to make the book somewhat affordable.

Beyond the rare joy of a really readable book about movie technology, Kattelle has generously given us solid gold in his appendices. Theres a bibliography, a chronology of Kodak filmstocks, a survey of various American equipment manufacturers from Bell & Howell and Kodak to Revere and Victor, and drawings of camera apertures--all a treasure trove to the researcher or investigator.

Alan Kattelle is co-founder of the Movie Machine Society, its past-president, a retired engineer, and a collector of amateur motion picture hardware. Hes been writing on amateur motion picture subjects for 20 years. Alan also serves as an advisor to Northeast Historic Film. In the spirit of full disclosure, I was asked to write a brief comment for this book about the state of Super 8 today. I have know Alan and Natalie Kattelle for some time and most of what I know about very early movie apparatus I learned at their house, so I was prone to like this book. In holding the advance copy in a 4 inch binder in my lap, I discovered much. I admire this book and the author for his tireless effort to share his irreplaceable research and true passion for home movies, the hardware and to honor the engineers and their ingenuity.

(reviewed by Bob Brodsky)

Enfield Distribution Co. <enfield@connriver.net>

P.O. Box 699

Enfield, NH 03748

Price is $49.95 + $5.00 shipping, $2. shipping for each additional book. Pay by Visa, Mastercard, American Express or checks payable to Enfield Distribution Co. ###

PUBLICATIONS

ACE Amateur Ciné Enthusiast news, ads, gear, for 8mm, Super 8, and 9.5mm. Write ACE, Porthallow End, Talland Looe, Cornwall, PL13 2JB, U.K. Tel & Fax: 011.44.1503.272.616.

THE INDEPENDENT great listings of fests, everything. Get membership in the Association for Independent Film & Video, 304 Hudson St. 6th floor NY, NY 10013. Tel: 212.807.1400.

THE REEL IMAGE: For collectors and filmmakers. Steve Osborne, editor, 2520 Blackhawk Rd. Kettering OH 45420. Now 24 hr. Tel: 937.296.9036. and 24 hr. FAX: 937.296.1084.

MOVIE CAMERAS, 16mm, 9.5mm, 8mm, Single 8, Super 8.The definitive guide for collectors and fans: a new book for collectors who want a nice picture and specifications on more than 3,000 movie cameras. See sample pages on website at http://www.atollmedien.de Author Jürgen Lossau, Sierichstrasse 145, D-22299 Hamburg. Fax: 0049 40 4688 5599. Reviewed in UK publications. English, limited ed. price US$99.

Hollywoods Conversion of All Production to COLOR, new 300 page story of Eastman color family of films. Author/publisher John Waner, P.O. Box 253, Newcastle ME 04553 tel: 207-563-1836 jwaner@lincoln.midcoast.com

Kodak launched this gauge in 1932 to expand on its success with 16mm "home movies." Even though Kodak officially discontinued stocks in 1991, the hardy 8mm film is enjoying a renaissance. Youth are attracted to the machine-age beauty of cameras like Bolex or Bell & Howell; they find gear at flea markets and through the Internet. Today 8mm is available in 25 double 8mm daylight load camera spools (turn over halfway through exposing). After processing, double 8mm film is slit to become 50 feet of 8mm film. B&W processing labs below; Ektachrome p. 13 or Kodachrome labs p.11.

The US champions of 8mm:

John Schwind B&W Cine-X 50, Cinechrome-25 & Cinecolor 125 ASA. Fomapan-100, etc. 8mm, S8, 16mm. Write: P.O. Box 1233 Dixon CA 95620. Tel: 707-678-2942. Fax: 707-754-8613.

Martin Baumgarten, 18 Elm St. Plattsburg, NY 12901. tel: 518-561-6312 Super 8mm@aol.com http://members.aol.com /Super 8mm/Super 8mm.html

N. B. TO HELP JOHN AND MARTIN PERPETUATE THE 8MM GAUGE, CONVINCE LABS TO RETURN THE DOUBLE 8mm CAMERA 25 foot SPOOLS AFTER PROCESSING. (A1 and Dwaynes already do this.) Sometimes for artistic purposes, filmmakers want double 8mm to be returned 16mm wide, not slit. This is possible at some 16mm labs; please be specific with instructions.

Film & Video Services 2620 Central Ave. N.E. Minneapolis MN 55418. tel: 612-789-8622.

Forde Lab 306 Fair view Ave. N. Seattle, WA 98109 att: Rich tel: 800-682-2510 or 206-682-2510.

Yale Lab 10555 Victory Blvd N. Hollywood, CA 91606 tel: 800-955-9253 or 818-508-9253.

A1 Reversal Lab, Inc. 339 West 39th Street, New York, NY 10018, Fernando (Freddy) Baez, owner tel. 212.239.9530 fax. 212.239.9536 Located between 8th and 9th Avenues. 16mm, Super 8 and 8mm B&W and Ekta. Freddy returns R8 spools. ###

(This Q&A was printed in AMIAs newsletter, Toni Treadway©1999 w/ thanks to Bob )

Q: How can I make sure the small gauge viewer Ive found isnt going to damage the 8mm film collection Ive got to view and catalog?

A: O.K. youre delighted to have wrestled the viewer out of the local public librarys closet (or the local community college), but its a mixed blessing. The power cord is brittle, the sprocket wheel wont turn and the viewing screen appears to have been the nesting place for several generations of collegial mice. Small gauge is far from the world of Steenbecks. If by stroke of grace the viewer you find is in far better condition, all you need to insure against damaging film are the following supplies:

1. A 3 length of film to use as a test against damaging sprockets or for finding burrs that can scratch.

2. our preferred form of gentle wax, Lemon Pledge furniture wax, pump bottle, plus a whole box of cotton swabs to clean, clean, clean the film path. Dont allow the wax to touch any of the optical parts or the bulb. Swab the plastic reel holders, too.

3. Clean the optical path with a soft paper towel and Windex.

Now, for the basket cases: try to free up a frozen sprocket with a nearly infinitesimal amount of penetrating oil (from your local hardware store). Apply it to the head of a sewing needle and use the needle as an applicator to get the oil only where its needed. Shine a reflector light bulb on it to warm the offending sprocket and hasten the rehab. The same treatment may be necessary to free balky metal rewinds.

Next, clean the film path. If you encounter bits of ancient emulsion firmly stuck, use an orange stick coated with Lemon Pledge to remove them. If you encounter a burred screw near the film path, remove the burr with an emery board or diamond dust nail file. Then swab the entire film path with Lemon Pledge (as in 2. above). The easiest way to replace an unsafe a power cord is to buy a household extension cord (2 wire) of convenient length and cut off the outlet end.

When you go to the hardware store to buy the extension cord, tuck the viewer under your arm and buy the right screwdrivers to reach the hidden fasteners. Also purchase two small electric twist-on connectors. Remove the screws carefully noting which lengths came from which places and gently crack open the case. Inside you will visit more horrors. Snip off the power cord about three inches from the lamp or power transformer for the lamp and discard the old cord. (Most small gauge viewers use a 6 volt 10 watt bayonet-based bulb, similar to some auto marker light bulbs). Run the extension cord through the grommet into the viewer, tie a half-hitch in the cord (so it cant be accidentally pulled from the case), strip the insulation from the four wires and attach them with the twist-on connectors.

Old viewers often need to have their bulbs re-aligned to provide the brightest screen image. Put on a glove so you can manipulate the hot bulb. The bulb is usually loosened with a small Phillips screwdriver, pushed in or released against its spring until the brightest image is obtained, then tightened.

Used hardware for small gauge film is scattered in camera shops and flea markets across the world. Be ready to buy on the spot if you find serviceable gear. Beware the electronic auction websites where gear is often junk which gets bid high due to its perceived scarcity. Buy as many hand viewers as your space allows; good 8mm film equipment will not get easier to find in coming years. Look for viewers that have a relatively straight film path to put the least stress on any film in less than great condition and with a large bright screen.

Portland, Oregon - November 2001

(continued from front page)

Members of the Task Force on Small Gauge Film of the Association of Moving Image Archivists met during the 2000 conference to plan the 2001 symposium and thread it into AMIAs next national conference. (AMIA website: www.amianet.org) Film archives have been encountering more 8mm film, building pressure to address issues unique to small gauge film. The term "Small Gauge Film" is new to the Task Force and means to include the issues shared by artists films as well as non-commercial, family, amateur, orphaned or unpublished films made on film less wide than 35mm, whether 8, 9.5 or 28mm. This symposium will focus on the dominant amateur gauges in North America, 8mm and Super 8.

Preservation of 8mm film is particularly challenging for the many daunting technical issues like the variety of frame rates, hand made splices, and scarce lab services. Cataloging 8mm film often requires new discovery and new language. Millions of feet of 8mm are held by filmmakers and families, a vast and diverse resevoir of moments in the culture. The archives despair that some films were already lost as stories abound of families that made VHS copies and disposed of original home movie, the reliable archival material. Artists, who often work solo, may not be aware of todays preservation prescription: keep the original film, store it cool and dry.

Toni Treadway, this newsletters editor, had the honor of announcing the multi-phased Initiative on Small Gauge Film while presenting clips of 8mm films at the Reel Thing in Montreal during AMIA 1999. The Reel Thing is the esteemed showcase on technical matters held before each annual AMIA conference for the last ten years thanks to the superhuman, thoughtful efforts of Grover Crisp of Sony Pictures Entertainment and Michael Friend. In 1999 Treadway showed three excerpts (as small gauge film on video): artist Poli Marichals 1981 hand painted, scratched animated Super 8 film "Underwater Blues," the 1939 local history 8mm "Logging in the High Sierras" and a sound 8mm film held by the Smithsonian Human Studies Film Archive of Native American dancing in New Mexico. The excitement these clips elicited on video lead to a Roundtable held in Los Angeles in June 2000 hosted by AMIA at Sony with extra special support from the Library of Congress. There, nineteen participants focused on the myriad issues of selection criteria. At the Roundtable, planning began in earnest for activities, case studies, sessions and publications in confluence with AMIAs conference 2000 and 2001.

During the Los Angeles AMIA 2000 conference, small gauge film appeared on screen at Reel Thing and in a refreshing session on Cine Clubs with Dwight Swanson, Melinda Stone (Super Super 8 Festival) and Karen Shopsowitz (producer "My Fathers Camera.") More than 75 enthusiasts turned out for a business meeting(!) planning 2001 activities and stayed to a session entitled Issues On Small Gauge Film, lead by Pam Wintle, HSFA/Smithsonian, Ross Lipman, UCLA Film Archives and your editor. At Reel Thing 2000, a 35mm blow-up of "Underwater Blues" was shown that astonished the artists herself and archivists not used to hand painted artists filmmaking on the big screen. Tests of Marichals little film at 18 and 24 fps were made at Cineric, Inc, NYC, a lab which inaugurated its wet gate 8mm optical printing to 16mm or 35mm this year. Cineric also showcased preservation work on Topaz, the 8mm film document of the Japanese American WWII internment camp experience. Another poignant 8mm film shown was the family outings used in the documentary film "Into the Arms of Strangers: Stories of the Kindertransport", producer Deborah Oppenheimer, Sabine Productions. The excerpt was presented by Alicia Dwyer, the Associate Producer and Post-production Supervisor who spoke on its conversion from 8mm through video to 35mm film.

The 2001 session will be the first symposium ever held in North America on the preservation of 8mm and Super 8 films. It will cover topics such as:

selection criteria for small gauge films, definitions of genres, examples to types of works in need of preservation including issues of content, access, and appraisal;

Options and techniques for duplication and sharing of information about deterioration rates, film to film copying, evaluation of digital or other possible technologies or methodologies for access copies, labs for preservation copies;

Special technical issues inherent in small gauge films, including varying frame rates, small gauge sound-on-film, double system sound tracks, full frame representation, non-standard or sub-standard splices, as well as unusual art works;

Strategies for funding for small gauge film preservation.

Along with the above mentioned visionaries, helpers, artists and archivists, our thanks to colleagues Karen Ishizuka, Japanese American National Museum, Ken Weissman, Library of Congress, and Steve Anker, SF Cinematheque, for helping move the ball. Karan Sheldon at Northeast Historic Film deserves a seat in film heaven for chairing the Task Force. Thank you, also AMIAs Janice Simpson, and the board and volunteers, all brilliant at pulling together a big annual conference.

The Small Gauge Film Task Force wants to make the 2001 conference exceptional. Attendance by new people strong in local and artists film will help propel and shape the discussion. Filmmakers, archivists, exhibitors, curators and historians who have issues, questions, case studies to suggest or historic 8mm films in dire condition or any comments for long range consideration please be in touch with Dwight Swanson, dwswan@hotmail.com Hes the helpful Task Force member who started an online 8mm film preservation interest group. He writes "non-AMIA members are strongly encouraged to sign up for the small gauge list. To join: 1) send a blank e-mail to: smallgauge-subscribe@egroups.com or 2) go to www.egroups.com and register on the site." You mat also contact Toni Treadway, Technical Committee chair, tel: 978-948-7985 or Karan Sheldon, Task Force chair, at Northeast Historic Film, www:oldfilm.org ###

13th United States Super 8mm Film+Digital Festival Feb. 16-18, 2001. Tel: 732-932-8482; fax: 732-932-1935. Contact: Festival Director, Rutgers Film Coop/NJMAC, Program in Cinema Studies, 108 Ruth Adams Bldg. Douglass Campus, Rutgers University, New Brunswick, NJ 08903 e-mail: NJMAC@ aol.com website= www.rci.rutgers.edu/~nigrin

Super Super 8 Film Festival Melinda Stone toured the US in 1999 and 2000. She wrote about two upcoming screenings that feature the works of the amateur film club scene (the subject of her research) including Multiple Sidosis by Sid Lavarentz, just selected for inclusion on the National Film Registry are February 6, 2001 - Pacific Film Archive, Berkeley, Ca. April 8, 2001 - Exploratorium, San Francisco, CA. I am retiring from the directorial role of this remarkable Super 8 world tour extravaganza. I have passed the baton to a lovely man and Super 8 enthusiast, Paolo Davanz. Dates so far: March 4th, Other Cinema, San Francisco, March 21st Robert Beck Cinema, March 22nd Rochester, NY, March 23rd Buffalo, NY, and April 1st Newport Beach CA Film Festival. Paolos website, polyesterprince.com shows the spirit continues: "From the ashes and potholes of cinematic wonder, the spirit of "DIY" and guerrilla filmmaking continues. ... We are currently accepting any work that has been originally shot on Super 8 or 16mm. We are delighted to show all genres and forms of expression. All work will be previewed on video, however we will need a film print for the world tour." Information: Polyester Prince Productions, (SUPER SUPER 8 2001) 15 Mann St. Irvine, CA, 92612 Tel: (213) 413-8783 Fax (949) 551-9068 E-mail polyesterprince@hotmail.com

Rencontres du 8e Type (Close Encounters of the 8th Kind) 7th Int'l. Super 8 Festival in Tours France. Usually December. Tel: 33 2 47 20 19 76 Fax: 33 2 47 05 51 39 ART'Themis, 4 rue des hautes roches, 37230 Fondettes FRANCE.

Festival Intl du Film Indépendant, 12 rue Paul Emile Janson, 1000 Brussels BELGIUM. Usually November. Tel/fax 32.2.649.33.40 centre.multimedia@euronet.be

Serious festival listings in The Independent, see. p.6

Jytte Jensen at MoMA and Steve Anker at SF Cinematheque deserve a wild round of applause for many years of work . The last ten programs in the series "Big as Life: An American History of 8mm Films" screen Thursdays Jan-April 2001 at MoMA.

An anonymous flyer marked Tom Church film screenings-underground Super 8 from S.F. at Anthology, NYC, Seattle, Vancouver. Anyone spotted them elsewhere?

Tim Wright hardly finds time to work on his new documentary on credit cards in America while he is teaching at www.cityscapefilm. com There he will conduct the team to document the behind the scenes work on the new Roger Corman film. www.jpnewsreel.net

Rich Pontius send us this about a recent screening: The name of the show was "Roll Call," and it took place at the Abbey Lounge in Inman Square Cambridge November 19, 2000. Filmmakers from San Francisco, New York and Boston included Luther Price, Saul Levine, Mark Lapore, Joe Gibbons, Kerry Laitala, Brian Frye, Adrianne Jorge, John Quackenbush, Paul Turrano, George Lewis, Katya Gorker, Paul Turano, Carl Fuerman, Brian Coffey, Chris Colt, Aaron Scott, Brian Frye, Rich Pontius and Betsy Nichols.

Applause for John Petros in Burbank, the most prolific volunteer reviewer of lab services: 18 cards since the last newsletter.

Henry Ferrini has screenings of his new film Lowell Blues: the Words of Jack Kerouac at the Museum of Fine Arts Boston February 1 and 24, 2001.

Seems people like flickers. Thanks Angie, Norwood, Jim, James....Visit www.flicker.org for links to screenings in Durham, NC, Los Angeles, CA, Richmond, VA, Jersey City, NJ, Austin, TX and Bordeaux, France. All flickers acknowledge common parentage in Athens, GA. Write Norwood Cheek flicker@mekons.com for the 2000 v.1 issue of flicker guide.

Dedicated filmmaker and community activist Richard Broadman is missed by the Boston documentary community. He died before his last film Brownswille Black and White had a premiere in November 2000 at the Coolidge Corner Theatre, Brookline, MA. It was followed by a panel discussion: "Moving on After Brownsville: Black/Jewish Relations in a New Era." Susi Walsh of the Center for Independent Documentary did a lot of leg work for Richards premiere, and on Deanns and Janes too.

Dragonflies, the Baby Cries, a new film by Jane Gillooly with live accompaniment by the Alloy Orchestra was shown at the Coolidge Corner Theater, Brookline, MA, November 11, 2000

Deann Borshay Liem presented First Person Plural at the Museum of Fine Arts in Boston and on TV as part of the new season of P.O.V. on PBS. This "compelling first-person account" (Variety) investigates her 1966 adoption from Korea by an American family, leading both viewer and filmmaker on an astounding journey straight to the heart of family and identity. Her fathers 8mm home movies include the moment she steps off the plane and lots of other telling details with her siblings.

Bravo cet homme qui surface partout! Al Nigrin took Super 8 films to 14 places in the last year, from MoMA and Millenium to sites in NJ, WV, PA, VA, MN, and he was elected to the Executive Board of NAMAC, assuring a small gauge film sensibility will be represented.

Poli Marichal is mounting a show of her prints and paintings from 16 February to 15 March 2001 at the Gallery Espresso Mi Cultura in East Los Angeles.

Fumbling with the remote, we spied a feature film directed by Guy Ferland, who made astonishing Super 8 films in his youth. Go, Guy!

A program called Memento Mori: The Films of Jim Hubbard is screening at dumba in Brooklyn. tel: 718.670.371 Jim Hubbard has been hand-processing films since 1974. He is a co-founder of MIX: The New York Lesbian/Gay Experimental Film/Video Festival. He recently curated "Fever In The Archive: AIDS Activist Video & Film" at the Guggenheim.

Quite a span of years: film/videomaker Taka Iimura had his 1962 film "Ai (Love)" shown at MoMA Big as Life on the 1/25/01 program with short films by Michael Johnson, Joe Gibbons, Stan Brakhage, Gary Adlestein, Vito Acconci and Lewis Klahr. That day, his 1998 b&w video "Observer Observed" was an award winner and screened at the N.Y. Exposition of Short Film and Video.

Special thanks to filmmaker Anne C. Robertson for help on this issue. She has shown work all over the country and in Europe. Her diaries and personal shorts remain some of the strongest personal film works anywhere, in any gauge.

NewYorker/Parisienne Vivian Ostrovsky sent some lab names in Europe and added the intriguing note "P.S. I am on my way to Brazil with a S8 camera." N.E. winter dreams are made of this....

LIFELONG LEARNING

EASIEST: start a Flicker! Share skills and gear, make and show films. Visit www.flicker.org for links and basic info.

Thru Namac.org you can find other Media Center links. e.g FAF.org will show you where Danny Plotnick teaches Super 8.

Also, in the Boston area, Bob Zinck is teaching introductory filmmaking with Super 8 and has an ongoing screening series, Spitting Image, at the Washington Street Arts Center, Somerville. For info: WSAC 617 623-5315 or Bob at 781-646-7335.

9.5mm	16mm	8mm	Super8