With Margaret Honda in person
Dir. Margaret Honda. U.S., 2015, 101 mins., 35mm. New York premiere. A meditation on the essential nature of celluloid film as a filter, Margaret Honda’s debut feature was made using timing tapes for a random Hollywood feature film and presents a succession of uniform fields of color, each a surprise.
Statement from the filmmaker: Color Correction presents the color corrections for a conventional narrative film, but without the images they were intended to correct. Correcting the color is the last step in making a film and the corrections, made shot by shot, are encoded in paper ribbons called timing tapes. Unlike almost all films, which are printed from a film original, Color Correction was made using only the timing tapes for an unknown Hollywood feature film, without the corresponding film original. The result is a film without images or sound that consists of a succession of different colors. The length of each color corresponds to the length of a shot, but the story that determined those lengths has disappeared.
The identity of the film that generated the timing tapes is a matter of complete indifference to me. I regard the tapes as readymades, interchangeable with timing tapes for any Hollywood film. Such a film is the result of innumerable choices designed to achieve a predetermined vision. My ambition was to make a film by ceding that type of control over it. The overall length of the film, the 35mm gauge, and the color changes had already been established and encoded in the tapes. I had no idea what the film would look like until it was completed, and I accept the film as the tapes gave it to me.
Another film by Margaret Honda, Spectrum Reverse Spectrum, will make its U.S. premiere in First Look. More information here.
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