The more things change, the more they stay the same : the 2012 alternative film/video festival

The Alternative Film/Video Festival in Belgrade has historically been one of a triumvirate of critical festivals, with Pula’s MAFAF (1965-1990) and Zagreb’s initiating GEFF (1963-70), servicing experimental, exploratory, avant-garde, personal film in the former Yugoslavia, at Belgrade’s Academic Film Center (AFC) within the Student City Cultural Centre (DKSG). Initiated in 1982 it was resurrected in 2003 with a dual regional and international focus after a hiatus due to the collapse of the socialist states of the former Yugoslavia. As well as a series of curated and retrospective programs each competition program is now split into international and regional halves, selected by Greg de Cuir and Zoran Saveski with production support by Milan Milosavljević. Two film workshops were also available. One on scratch film by Ivan Ladislav Galeta, the other on filming and processing led by Vassily Bourakis. Initiated by de Cuir the first Alternative Film/Video Research Forum was part of the festival this year bringing together research on alternative/ experimental/ avant-garde/ underground film and video. Although I participated in this side-bar I will concentrate here more on discussions from the festival roundtable and contextualise a small number of films, a couple from competition but mainly regional work that I would find difficult to encounter without attendance here.

A sampled OZ Hystery: Australian alternative film from the 60s to the present

Regional Support Network presents:A Sampled OZ Hystery: Australian Alternative Film from the 60s to the PresentTuesday, October 21, 8pm ($5 or PWYC)Videofag (187 Augusta Avenue)(co-sponsored by Videofag and Liaison of Independent Filmmakers of Toronto (LIFT))Curated by Dirk De Bruyn (in person)PROGRAM:Fun Radio - Nigel BuesstLeading Ladies - Lynsey MartinContemplation of the Rose - Michael LeeZoomfilm - Dirk de BruynDiscs - Dirk de BruynDolls - Paul FletcherExcerpt - Chris KnowlesExacuate - Michael Buckley and Sue McCauleyMorena - Marie CravenShort Lives - Neil TaylorE.G. (Elephant Girl) - Virginia HilyardTraum A Dream - Dirk de BruynKeepinTime Abstract - Steven McIntyreTime Ball - Marcia JaneWAP - Dirk de Bruyn

Alt.film.au(2) : Blogging at the margins in Australian retrospective 2012

In 1972 Albie Thoms wrote: ‘In Australia it has been impossible to elicit much sympathetic appraisal from critics who seem distressed by the relation of personal film to amateur movies. Even those proselytizing for the New cinema have underrated the personal film as a worthy antidote to the market assumptions of Hollywood.’ (Thoms 1978, p. 146) The question now is, of course, is anything different in 2012? The answer is of course yes and no. Although the politics remains frustratingly familiar the digital has progressed further to the point that where in the 60s every one picked up a guitar, now we pick up a video camera. A postscript relates those films in the program not available for inclusion in the original 90s rant- (i.e. they did not exist) I have further annotated this re-play of old wounds and victories with commentary on some of the films in the screening program.

Unsung oz hysteries

The screening and funding opportunities for Experimental film in Australia has always had a problematic and underground history since the 1960s, moving through 16mm, super 8 and now digital moving image forms. One source of that history was Cantrills Filmnotes which expressed the rhetoric of a founding generation who experience the promise of a new Australian National Cinema and new film culture in the 70s, but whose mainstream product eventually left it behind. Experimental film inherited a marginal position through a lack of critical debate and because funding shifts left its identity somewhere between the fine arts and commercial cinema. It was consequently viewed as marginal to both. The general visual quality of this work meant it was perceived as apolitical, although it implicitly expressed and performed the denials and negations experienced directly by the migrant and working classes.

Through several cycles of emerging generations of artists (through such organizations as Fringe Network, MIMA and Experimenta), such artists knew more of the histories of work emanating from Europe and North America than their own, a general problem for Australian history. New underground opportunities are now arising to connect with the emerging and aspirant cultures coming out of Asia that reflect the shifts of global capital and the rise of China as an economic power. Asian work, registering a history of aspiration offers a re-integration of Peter Wollen’s avant-gardes split from the early 70s in the West. In the academy the Avant-garde’s strategies and techniques are studied, but are offered up in new work as aesthetic and lifestyle choices, rather than as the political imperatives announced implicitly or explicitly in their originating forms.

Electrophoretic deposition of YSZ thin-film electrolyte for SOFCs utilizing electrostatic-steric stabilized suspensions obtained via high energy ball milling

This manuscript describes a facile alternative route to make thin-film yttria-stabilized zirconia (YSZ) electrolyte by liquid-phase assisted electrophoretic deposition utilizing electrostatic-steric stabilized YSZ suspension followed by sintering. Very fine YSZ particles in ball-milled suspension facilitate their sustained dispersion through electrostatic mechanism as evidenced by their higher zeta potentials. Binder addition into the ball-milled suspension is also demonstrated to contribute complementary steric hindrance effects on suspension stability. As the consequence, the film quality and sinterability improve in the sequence of film made from non ball-milled suspension, film made from ball-milled suspension and film made from ball-milled suspension with binder addition. The specific deposition mechanisms pertaining to each suspension are also postulated and discussed below. A very thin dense electrolyte layer of ∼10 μm can be achieved via electrophoretic deposition route utilizing ball-milled suspension and binder addition. This in turn, makes the electrolyte resistance a more negligible part of the overall cell resistance. Further on, we also tested the performance of SOFC utilizing as-formed 10 μm YSZ electrolyte i.e. YSZ-NiO|YSZ|LSM (La0.8Sr0.2MnO3-δ), whereby a maximum power density of ∼850 mW cm−2 at 850 °C was demonstrated.