IIRC, Scott and Beth B.'s punk films were shot on Super-8.

Reynolds and Jolley's Seven Days Til Sunday, The Drowning Room and also (I 
think) burn were shot on Super-8

IIRC, Jem Cohen has done a lot with Super-8. (Lost Book Found ??)

Frameworker Ken Paul Rosenthal's Crooked Beauty is a fine example of how lovely 
Super-8 footage can look after a high-quality scan to HD and post-processing to 
remove dust sots and other artifacts.

Which leads me to note that there are at least two different Super-8 aesthetics 
that a programmer trying to survey the artistic use of the medium might want to 
identify and compare/contrast as part of the program:

The first embraces the whole typical old-school Super-8 production chain in all 
its lo-fi glory: scratches, dust spots, not-quite-right exposures, slightly-off 
color balances that vary from stock to stock, etc. Here Super-8 tends to 
signify a raw immediacy directed toward the subject on-screen and a 
don't-give-a-fuck attitude towards any aesthetics of visual refinement.

The second (e.g. Reynolds/Jolley and Rosenthal) isolates some unique visual 
qualities of super-8 stock (grain, saturation, color bleed...) toward some form 
of visual refinement that provides a more studied 'look' appropo to the larger 
thematic of the work and not not necessarily 'inherent' in the pro-filmic event 
in the sense the lo-fi aesthetic would take it to be. For example, both Crooked 
Beauty and Seven Days Til Sunday foreground formal qualities of monochrome 
Super-8 in not-at-all lo-fi ways, but to very different ends.

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