Scratchfilm is an experimental animation technique where the filmmaker works directly on the surface of a filmstrip by scratching it with sharp tools such as an etching needle or blade. This method creates patterns, shapes or images that are scratched, drawn or painted directly onto the film. The handmade technique bypasses the use of a camera to capture the images and for this reason, scratchfilm is also known as ‘camera-less’ or ‘direct-on-film’ animation.

Scratchfilm is closely associated with avant-garde or experimental cinema, where artists explore unconventional and unique methods of filmmaking. Using the physical film material as a canvas, scratchfilm allows for a uniquely handmade approach to animation.

A range of 35mm film material can be used for scratchfilm, including white or black film leader or transparent film where individual frames can be marked to allow for individual drawings on each frame of film. Film with existing images or ‘found footage’ can also be used for scratchfilm animation, where the film’s images or the movie can be manipulated by scratching into the emulsion as well as drawing or painting over it. Amongst the many varied methods of working direct-on-film, techniques include scratching into the film emulsion, drawing with fineliner pen on transparent film, as well as painting on film, collaging shapes or images onto the film material or stamping onto the film material.

Via frame-by-frame small drawings or using ‘found footage’ there can be a narrative, or it can be completely abstract. The resulting films mostly focus on visual rhythm, texture, pattern and colour, since the motion of animation is easily created via the principle of persistence of vision: when the film or video is projected, the patterns and drawings are perceived as animated in fluent motion.

Scratchfilm or camera-less animation originated in the twentieth century and has been re-interpreted through new innovative works by many contemporary animation filmmakers. Pioneers and famous practitioners of scratchfilm originally, include the New Zealand born animator and artist Len Lye and the Canadian filmmaker Norman McLaren, who created several influential animations using this method. Their aesthetic influence can be seen in the films by current filmmakers using scratchfilm techniques in a contemporary context, such as films by the highly regarded and award-winning filmmakers Steven Woloshen and Gina Kamentsky, amongst many others. A few examples of works by the mentioned historical and contemporary filmmakers can be viewed from the links below.

Today, when using the direct-on-film methods, the resulting animation can be digitised, edited and manipulated further digitally for exhibition and screening as a digital film. Some of my own work in animation takes this approach. In the workshops, the handmade animations will be digitised frame by frame and edited together as a digital video, which can be screened online or in a cinema.

BOOK TO ATTEND A WORKSHOP