One further note - when film is accidentally x-rayed, isn't the result a general "fog" rather than any kind of variable pattern or marking? I remember one case many years ago, it looked as if the film had been double exposed with the second exposure being a rather featureless light gray. Could it be otherwise? Seems reasonable that the exposure might be greater toward the edges than in the center of the frame, for example, but I don't remember that being the case.
Tom From: FrameWorks [mailto:[email protected]] On Behalf Of Heath Iverson Sent: Wednesday, February 20, 2013 8:45 AM To: [email protected] Subject: [Frameworks] "The Toxic Camera" query Dear Frameworkers, I'm a doctoral candidate working on contemporary British artists' cinema. At the moment I'm doing some research on Jane and Louise Wilson's "The Toxic Camera," an installation which, in part, commemorates the nuclear accident at Chernobyl. The installation is framed as a response to Vladimir Shevchenko's film, "Chernobyl: A Chronicle of Difficult Weeks". Filmed in the immediate aftermath of the accident, Shevchenko's film was damaged by the ambient radiation--leaving the film's emulsion visibly pockmarked by the collision with decaying atomic particles. At various points, the Wilson's digital video seems to simulate the material damage in the Shevchenko film--sometimes literally mimicking a pocked marked emulsion, other times apparently "translating" this analogue damage into other digital distortions in the image. My question: does anyone know how these digital effects were technically achieved? Obviously, there are all kinds of digital filters that emulate a "film look," but I would like to know exactly what the Wilson's process was in production of their video's effects. Perhaps someone has their contact information? A secondary question: Can anyone point me to any other films in which the emulsion registers non-light electromagnetic energy, that is, radiation outside the visible spectrum. I can think of certain films that intentionally make use x-ray photography, but I'd be interested in other examples, especially in accidental instances. Best wishes, Heath -- Heath Iverson PhD Candidate in Film Studies University of St Andrews 99 North Street St. Andrews, KY16 9AD Scotland, UK
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