35mm film, 1.85:1, color, silent, 101 minutes
Dreamlands: The Color of Light, Whitney Museum
Cinema Project and Northwest Film Center, Portland, OR
Made in L.A. 2016: a, the, though, only, Hammer Museum
Color Correction is a film without an original of the usual kind. Almost all films are printed from a film original, whether film exposed in a camera or film that has been manipulated by direct physical action, for example by painting. The original of Color Correction is a set of timing tapes. Timing tapes are narrow rolls of paper with punched holes that encode the color corrections for each shot in a film. Ordinarily the film original and its corresponding timing tape are run together in the printer to make the release print. The corrections are invisible, and this invisibility extends to the timing tapes themselves. The viewer has no idea they even exist.
Color Correction was made only from the timing tapes for a conventional narrative film, omitting the corresponding film original. The result is a film without images or sound that consists of a succession of different colors, each corresponding to the length of a shot. The story that had determined those lengths has disappeared.
The idea for Color Correction came from the fact that my film Spectrum Reverse Spectrum was made by creating a timing tape to produce predetermined colors. When I understood that the timing tape functioned as the original, I realized that any existing timing tape, or set of timing tapes, could be the source of a film.
Arindam Sen in Lumière, exclusivo web
Phil Coldiron in Cinema Scope, Issue 66
J. Hoberman in The New York Review of Books, 18 January 2016
Jordan Cronk in Reverse Shot, 14 January 2016
Nick Pinkerton in artforum.com, 7 January 2016
Jordan Cronk, World Poll 2015 in Senses of Cinema, January 2016