Adopting Aesthetics

After entering a Straight 8 film festival (a competition to shoot the best possible film, straight to 8mm motion film with no editing) a few weeks ago, I began to wonder what keeps such competitions going in an age of digital perfection, in an age of Arri Alexas and Red Weapons, why pay >£65 for 3 minutes of unsynced 8mm footage.

What exactly is it that intrigues us about visual imperfection, why is there always a constant push backwards. When less and less us of us have any experience with the object of our nostalgia.

I proceeded to try and deconstruct the image, trying to quantify and thus understand the appeal. I soon realised that so much of what we consider quintessentially super 8mm is not exclusive to super 8mm. It is the stuff other than the physical format, the subjects, the lenses, the production styles, that keep a certain audience coming back. A joy in all things passionate and amateur.

As so often, it is not the format but the formation, the artist not the tool.



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