I always thought these were glue splices instead of tape splices. My understanding was that editors didn't start using tape until the later 1950s or 1960s.
It's also possible that the negative wasn't confirmed as A/B rolls, but simply glued as a single roll which would produce the effect shown in the second frame.
Michael



Michael Betancourt, Ph.D
https://linktr.ee/cinegraphic | cell 305.562.9192| zoom 875 581 4648

sent from my phone


On Nov 10, 2024, at 10:41 AM, Madi Piller <[email protected]> wrote:


It look to me that  the film cement edited from a source that was spliced taped perhaps as a draft edit. 
Perhaps not carefully spliced. Conscious or not. 
Madi



On Sun, Nov 10, 2024 at 10:26 AM Dominic Angerame <[email protected]> wrote:
They seem to be cement splices to the original editing not using AB rolls to hide the spices

On Sun, Nov 10, 2024 at 7:53 AM Jonathan Walley <[email protected]> wrote:
Hello Frameworkers,

Technical question coming in: can someone shed light on the appearance of splices in certain experimental films? For example, these sequential frames from Meshes of the Afternoon:

<Screenshot 2024-11-10 at 9.46.23 AM.png>
     
<Screenshot 2024-11-10 at 9.46.33 AM.png>

I understand (or at least assume) that the dark line running along the bottom of the first frame is the edge of editing tape, but I don’t think I understand why a portion of that frame appears at the top of the second frame. That is, why, in addition to seeing the splice line, are we also seeing part of the previous frame? This occurs throughout the film.

[BTW, these frame grabs are from the old Mystic Fire DVD; the more recent restoration, which includes additional shots, looks a lot better, but the same frame line phenomenon is still there.]

Thanks all - warm wishes in these cold times,
Jonathan

Dr. Jonathan Walley
Associate Professor and Chair
Department of Cinema
Denison University
https://denison.edu/people/jonathan-walley



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