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This week I explored the concept of “subtraction” by experimenting directly on 16mm film through scratching, punching, and bleaching. This process made me realize that images are not only generated through shooting but can also be reshaped through acts of “destruction” and “removal.” The works of Helen Hill and Len Lye shown in class were particularly inspiring: with the simplest marks, symbols, and contrasts of light and darkness, they created visuals as striking as flashes of lightning.

In my own practice, I used tools such as a hole punch, sandpaper, thumbtacks, and a small knife to create patterns that followed a sense of order and symmetry. Finally, I treated the film with bleach, which produced faded textures and stark contrasts. This chemical transformation introduced uncertainty into the work, giving it a sense of spontaneity and vitality.

Beyond these surface experiments, I also tried using repair tape and operated a film projector. These explorations have been an important step in both technical preparation and creative inspiration for Project 1. For this project, I want to create an animation with a graffiti-like effect, characterized by a bright and compact rhythm, accompanied by pop music-style drum patterns that I will compose myself. I also plan to apply subtractive techniques on the film to generate visual contrasts and rhythms that correspond to the energy of the music.

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In today's class, we conducted a photogram experiment in a darkroom. The process must be conducted in complete darkness: First, we placed various patterns and materials on a glass plate. Then, we took out a photosensitive film and pressed it against the glass, keeping it close to the pattern. Next, we turned on a specific exposure light. For just a few seconds, the light either penetrated or was blocked, leaving an invisible latent image on the film emulsion. We then placed the film in a developer, and the black-and-white image gradually emerged. The film was then rinsed with water and allowed to dry.

This experiment gave me an intuitive understanding of the nature of imagery: it doesn't rely on a lens, but rather the direct interaction of light and objects on the photosensitive material. The material and transparency of the pattern will alter the final image. This method is more like painting with light, both serendipitous and creative. We experienced firsthand the most primitive way of creating images and immersed ourselves in the magic of the combination of light and chemistry.

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In developing my Rhythm Project, I was inspired by Len Lye’s direct animation, as well as different YouTube creators whose videos showed me how simple drawing techniques could produce visuals that are both dynamic and artistic. During my exploration stage, I experimented with both additive and subtractive approaches. For additive techniques, I tried water-based pens, oil paints, and nail polish directly on the film strip. For subtractive ones, I explored bleaching, scratching, and perforating the tape. I found that oil paint worked best for my creative needs and allowed me to express my concept more clearly, while bleaching was less effective since the edges easily became messy and I struggled to control the variables.

From the beginning, I wanted to move beyond traditional direct film methods, so I treated editing as part of the concept design. The central theme I explored was the connection between visual imagery and musical rhythm. I deliberately painted large amounts of dots, lines, and shapes, and later combined them with editing techniques such as jump cuts, looping, and split-screen presentation. In this way, the visual elements and the music could interact and merge, turning rhythm into both a sonic and a visual experience.

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In recent two weeks, we focused on practice with Super8 and Bolex cameras. Learning about the Super8 system was fascinating because of its accessible design: film packaged in light-proof cartridges, easy loading, and different stocks. I was particularly impressed by how much creative control could be achieved through simple manual functions like exposure, frame rates, and even timelapse shooting. Also Bolex H16 camera is really interesting, which has long been a favourite of independent filmmakers for its affordability and image quality. Handling the camera in class, winding it up and preparing to shoot outside in groups, gave me a stronger sense of the materiality of film. These deepened my appreciation for film as both a technical craft and an artistic experiment. And I also discovered many iconic directors— even early Spielberg—used 16mm film and Bolex cameras to create their first works, which makes me feel connected to experimental and independent film.

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Last week we had the Rhythm Film Project screening, and it was truly a special experience for me. Each film carried its own rhythm and personality — some were abstract, some poetic, others powerfully expressive. The combination of colors, sounds, and editing patterns formed a kind of visual symphony that revealed how open and free experimental filmmaking can be.

I was deeply inspired by the creativity I saw in my classmates’ works. Some films felt technically mature, while others showed strong emotional expression or bold formal experimentation. Together, they reminded me that rhythm is not only about controlling time — it’s also about a flow of feeling, a kind of breathing between the filmmaker and the image. Watching these works expanded my understanding of what moving images can communicate beyond narrative or structure.

I also presented my own short piece. Although it was only a few minutes long, when the lights went down and the first frames appeared, I felt an intimate connection with the audience. Seeing everyone watching attentively, and hearing the applause at the end, made me genuinely happy. It was a moment of shared energy and appreciation that I will remember for a long time.

This screening made me realize that this course is not just about creating films, but about growing together — learning to see, to listen, and to be inspired by one another’s rhythms.

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Reflections on My Classmates’ Short Films

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Reflections on My Classmates’ Short Films

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This project is an experimental Super 8 film that explores the warmth, chaos, and collaborative spirit within a student film production. Combining the observational style of direct cinema with the personal tone of a diary film, it seeks to document the fleeting yet genuine moments that define creative teamwork. The piece will be filmed on Kodak Vision3 200T (7213) stock using a Super 8 camera, evoking nostalgia and the tactile qualities of analog texture.

A core part of the process involves subtractive film manipulation—a physical re-creation of the film material using tools like needles and sandpaper. This method transforms the footage by erasing, scratching, and reshaping the image, symbolizing the emotional imprint and imperfect beauty of collective creation. The project draws inspiration from Carolee Schneemann’s Fuses (1967) for its raw materiality and sincerity, and Jonas Mekas’s As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000) for its diaristic rhythm and poetic celebration of community.

The film will be silent, accompanied by a separately recorded soundtrack blending ambient location sound, live recording, and soft background music. Together, image and sound will form a visual diary that honours the shared effort, vulnerability, and warmth found in the act of filmmaking itself.

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I'd like to share the story behind my short film project. To shoot it, I actually joined a student film crew for my graduation project, spending three days with them. As an extra member of a crew of only three core members, my role was lighting technician. After joining, I found my workload increased significantly; I was responsible for setting up the set, moving and organizing equipment, purchasing food and supplies, and so on. It was a voluntary and heartwarming experience. In the midst of this hectic pace, I would pick up my Canon 1014 XL-S Super 8 camera. I didn't choose to record the actual footage, but rather quietly captured behind-the-scenes moments—slices of life from my personal perspective: someone discussing shots, someone dozing off, someone suddenly bursting into laughter; everyone automatically collaborating amidst the chaos, their emotions shifting between excitement and exhaustion.

The shoot lasted from 10 AM to 1 AM, and the long hours left everyone's condition unstable. Sometimes a beautiful moment appeared, and I would immediately raise my camera; other times, I would be called away to do other work just as I was about to press the shutter, and the shot would be missed. This sense of regret, ironically, becomes part of the imagery itself—fragmented, incomplete, and accidental, much like what Jonas Mekas calls "diary-like images": never fully captured, only what can be grasped in the present moment.

The final images resemble memories themselves: scattered, warm, and real.

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After shooting, I changed my mind as proposed in the initial plan—to use subtraction techniques. I realized my work was better suited to the film itself. However, post-production presented unexpected challenges. When the developed Super 8 footage arrived, I found all the close-ups completely out of focus. Even though they appeared clear through the viewfinder during shooting, I constantly manually adjusted the focus. Faced with this situation, I had to choose: delete all the irretrievable close-ups and see what I could create with the existing material. I viewed the remaining slightly out-of-focus footage as a hazy emotion and a memory. I re-created the work with this belief.

In editing, the footage is divided into three segments: the first is the pre-production setup; the second is the actual shooting; and the third is the final shot at night. Each segment is transitioned with establishing shots, making the work feel like a fragmented video diary. For the sound, I initially planned to add background music, but ultimately used ambient sounds, improvisational sounds, and subtle atmosphere recorded with the MixPre-3 to maintain consistency between the sound and the fragmented feel of the footage.

I believe that technical failures can also be an aesthetic choice. This soft, blurred, and incomplete texture perfectly matches the theme that the work originally intended to express—moment, collaboration, and memory.