Albert, Here are some film artists who created visual scores for their work:
Bill Brand for his film “Moment” Peter Lipskis for his films "Spare Parts” and “Processed Jello” Mark McGowan for his visual sound performance for 16mm rewind quartet, “Wind, Decay, Rewind” Hans Richter for his film “Rhythm 21” Caroline Savage for her film performances “2 Functional Swing”, "Humoresque for 3 Instruments” and “Color Scan Search" Janis Crystal Lipzin jclvision.com > On Nov 25, 2024, at 10:00 AM, [email protected] wrote: > > Send Frameworks mailing list submissions to > [email protected] > > To subscribe or unsubscribe via the World Wide Web, visit > http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > or, via email, send a message with subject or body 'help' to > [email protected] > > You can reach the person managing the list at > [email protected] > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Frameworks digest..." > > > Today's Topics: > > 1. This Week in Avant Garde Cinema: November 23 - December 1, > 2024 (This Week) > 2. Cinema on paper: diagrams, graphics, drawings and skecthes > (Albert Alcoz) > 3. Motion Over Pictures: Two Evenings of Fred Worden (Paul Attard) > 4. Lightpress grants deadline Nov. 30 (Interbay Cinema Society) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Sun, 24 Nov 2024 17:59:31 -0500 > From: This Week <[email protected]> > To: [email protected] > Subject: [Frameworks] This Week in Avant Garde Cinema: November 23 - > December 1, 2024 > Message-ID: > <cakyqsukfl85utkjzn7hnf-xt_wc_37k5cta99qp4scoq-fk...@mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > View this email in your browser > <https://mailchi.mp/b3f97db152b7/this-week-in-avant-garde-cinema-11034399?e=857b71a9cb> > > *** TWIAGC is looking to pass the torch to a new facilitator *** > Please contact *[email protected] > <[email protected]>* for details > > > > > *This Week [November 23 - December 1, 2024] in Avant Garde Cinema* > > > > > To receive the weekly listing directly via email rather than through > Frameworks, just hit Subscribe > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=091193278b&e=857b71a9cb> > . > > *DEADLINES APPROACHING* > **** Enter upcoming calls for entry here > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e27dc93c39&e=857b71a9cb> > **** > ___________________________________________________________________________________ > *sorted by submission deadline* > 11.27.2024 Onion City Experimental Film Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9dea88ae14&e=857b71a9cb> > (Regular Deadline) > 11.30.2024 Interbay Cinema Society Lightpress Grant > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=48c2c57241&e=857b71a9cb> > 11.30.2024 dresdner schmalfilmtage > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3b2a4f1857&e=857b71a9cb> > 11.30.2024 Laterale Film Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9ce6356d66&e=857b71a9cb> > (Second Deadline) > 11.30.2024 Wide Open Experimental Film Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=eb58a5c3e9&e=857b71a9cb> > (Final Deadline) > 12.01.2024 Single Frame > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c4699cb5aa&e=857b71a9cb> > (Late Deadline) > 12.06.2024 Margaret Mead Film Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=41655d5354&e=857b71a9cb> > 12.13.2024 Portland Panorama > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=aacd62ff20&e=857b71a9cb> > (Late Deadline) > 12.15.2024 Strangloscope Experimental International Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=eb4737bbe5&e=857b71a9cb> > (Extended Deadline) > 12.18.2024 Chicago Underground Film Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=79127043df&e=857b71a9cb> > (Early Deadline) > 01.10.2025 Coney Island Film Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7ce20ddd5d&e=857b71a9cb> > (Late Deadline) > 01.15.2025 Light Field > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8190370365&e=857b71a9cb> > 01.24.2025 Fugue State > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2ac278058d&e=857b71a9cb> > (Early Deadline) > 01.26.2025 International Short Film Festival Oberhausen > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=11ce6e333d&e=857b71a9cb> > (Regular Deadline) > 03.15.2025 ARTErra Residency > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7f7234422d&e=857b71a9cb> > 03.31.2025 FRACTO Experimental Film Encounter > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=07ba658289&e=857b71a9cb> > 03.31.2025 Magmart Festival > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=22bc8e020e&e=857b71a9cb> > > > *EVENTS* > **** Enter your event announcements here > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=43d55d86bf&e=857b71a9cb> > **** > ___________________________________________________________________________________ > *complicated sorting but a true attempt, enjoy!* > > This week's programs (summary): > > - We Are Here: Scenes From The Streets > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=125cc3b401&e=857b71a9cb> > [November > 1-December 22, New York, NY] > - Camera Obscura : Tenth Annual Report > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b675b7289a&e=857b71a9cb> > [November > 22-24, Petaluma, CA] > - Drawn To Bits: The Zagreb School of Animation > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=59669e64c4&e=857b71a9cb> > [November > 24, Cambridge, MA] > - Le D?pays + Sans soleil > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7442eb4947&e=857b71a9cb> > [November > 25, Cambridge, MA] > - The Divine Visions of Ishu Patel > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c8e9b8f675&e=857b71a9cb> > [November > 25, Los Angeles, CA] > - Frameworks Monthly Experimental Screening - Dore O > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c07028037f&e=857b71a9cb> > [November > 28, Seoul, South Korea] > - Film No. 18 (Mahagonny) > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=36c0c454d9&e=857b71a9cb> > [December > 1, Cambridge, MA] > - Alienating Images: Animation Elsewhere And Otherwise > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9f81657c35&e=857b71a9cb> > [December > 1, Cambridge, MA] > - The Long Conversation > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=38093102be&e=857b71a9cb> > [ongoing, online] > - 6x6 Project: Artists' Moving Image Works > > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5dd15391ee&e=857b71a9cb> > [ongoing, > online] > > > *STARTING BEFORE SATURDAY, NOVEMBER 23, 2024* *November 1 - December 22* > Venue type: *Live, physical event* > Anthology Film Archives > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9dcb9df31b&e=857b71a9cb> > times vary, see below, > 32 Second Avenue, New York, NY > *WE ARE HERE: SCENES FROM THE STREETS* > This fall, the International Center of Photography (ICP) presents a major > exhibition entitled ?We Are Here: Scenes from the Streets?. Spotlighting > contemporary street photography from over 30 international iconic street > photographers, the exhibition highlights the diverse perspectives and > techniques that define modern street photographers and emphasizes the role > of the streets as a canvas for illustrating change. The work of these > intergenerational and geographically disparate artists encourages an > expansive re-viewing of ?street photography.? It opens up important > discussions on how ?the street? and public space are places of community, > joy, self-expression, advocacy, changing landscapes, and social dynamics as > seen through the street photographer?s lens. > > In conjunction with the exhibition, Anthology hosts a wide-ranging film > series, throughout November and December, that explores the intersections > of street photography and cinema. The series includes documentaries by and > about notable street photographers, but also showcases films that qualify, > in their own right, as works of moving-image street photography (such as > the work of Khalik Allah, Charlie Ahearn, Mira Nair, John Wilson, Heddy > Honigmann, Jem Cohen, and others), or that expand the notion of what > qualifies as street photography (John Smith?s *THE GIRL CHEWING GUM*, > William H. Whyte?s *THE SOCIAL LIFE OF SMALL URBAN SPACES*, or Tom > Jarmusch?s *SOMETIMES CITY*). > > ?We Are Here: Scenes from the Streets? is on view at the ICP (84 Ludlow > Street) from September 26, 2024-January 6, 2025. The exhibition is curated > by Guest Curator Isolde Brielmaier, with Noa Wynn, Independent Curatorial > Assistant. > Special thanks to all the filmmakers; to Jacque Donaldson Bailey, Izzy Dow, > Sara Ickow, Haley Kane, and Marley Trigg Stewart (ICP); and to Neal Block > (Magnolia Pictures); Bob Hunter (Icarus Films); Marian Luntz (Museum of > Fine Arts Houston); and Brian Meacham (Yale Film Archive). > > *SCREENINGS* > Charlie Ahearn > WILD STYLE > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=15ac98fc16&e=857b71a9cb> > November 1 at 7:30PM ET > November 23 at 9:00PM ET > December 21 at 9:00PM ET > > Cheryl Dunn > EVERYBODY STREET > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d6ba27beab&e=857b71a9cb> > November 2 at 4:30PM ET > December 20 at 6:30PM ET > > KHALIK ALLAH PGM > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=da9163bfdb&e=857b71a9cb> > November 2 at 7:00PM ET > November 29 at 9:15PM ET > > Dayong Zhao > STREET LIFE / NANJING LU > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ba25c96507&e=857b71a9cb> > November 2 at 9:15PM ET > December 20 at 9:00PM ET > > WRONG SIDE OF THE LENS > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a8ed8d1fd0&e=857b71a9cb> > November 3 at 4:00PM ET > > AHEARN / ROBAKOWSKI / HELLER PGM > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3572a1ead2&e=857b71a9cb> > November 3 at 6:15PM ET > December 1 at 8:30PM ET > > Charlie Ahearn > JAMEL SHABAZZ STREET PHOTOGRAPHER (filmmaker in person!) > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b4789e9518&e=857b71a9cb> > November 3 at 8:30PM ET > December 1 at 6:00PM ET > > Heddy Honigmann > METAL AND MELANCHOLY > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d2dc02ee0b&e=857b71a9cb> > November 4 at 8:45PM ET > December 21 at 4:15PM ET > > Raoul Peck > ERNEST COLE: LOST AND FOUND > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7430516f76&e=857b71a9cb> > November 19 at 8:00PM ET > > JEM COHEN PROGRAM (filmmaker in person!) > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a357a2b76e&e=857b71a9cb> > November 22 at 7:00PM ET > > ONE HOUR + A WALK > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f035766b0e&e=857b71a9cb> > November 22 at 9:15PM ET > November 24 at 5:15PM ET > December 21 at 6:15PM ET > > 2 X NICHOLAS DOOB > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=54ea467479&e=857b71a9cb> > November 23 at 4:30PM ET > November 30 at 6:00PM ET > > William H. Whyte > THE SOCIAL LIFE OF SMALL URBAN SPACES > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ad616b1392&e=857b71a9cb> > November 23 at 6:45PM ET > November 29 at 7:00PM ET > > Tom Jarmusch > SOMETIMES CITY (filmmaker in person!) > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5efa24d75f&e=857b71a9cb> > November 24 at 8:00PM ET > > Djamil Beloucif > LE COIN DES VAURIENS > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0aab743c85&e=857b71a9cb> > December 22 at 5:00PM ET > > *___________________________________________________________________* > > *November 22 - 24* > Venue type: *Both physical and online* > CAMERA OBSCURA > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=73747e5a44&e=857b71a9cb> > [multiple events / assorted times, see below], > HOTEL PETALUMA | 205 Kentucky Street, Petaluma, CA > Event URL: https://www.facebook.com/cameraobscurafilmsociety > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=405fa240e9&e=857b71a9cb> > *CAMERA OBSCURA : TENTH ANNUAL REPORT* > The reconvened CAMERA OBSCURA FILM SOCIETY, presenting "unusual, antique > and experimental films" under the coordinated co-direction of Amanda > Salazar (VIDIOTS > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=92fbdc5a34&e=857b71a9cb> > Director > of Programming) and Jonathan Marlow (Executive Director of PARACME > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=99a6f1183e&e=857b71a9cb>), > will return for its Tenth Annual Report over a trio of days from 22 to > 24-November (the weekend prior to Thanksgiving) in Petaluma, California, > fifty kilometers (or roughly thirty miles) north of the Golden Gate Bridge! > > Over the course of this exceptional weekend, an assortment of wonderful and > remarkable films will screen at a temporary cinema constructed inside the > grand ballroom of the historic Hotel Petaluma. Programs of > longer-works-paired-with-shorter-works will be presented along with > filmmaker Q&As and related activities within walking-distance of the hotel. > > The original Camera Obscura Film Society was founded in 1957 by Lawrence > Jordan and Bruce Conner (along with a handful of other likeminded > individuals) in the years following the conclusion of Frank Stauffacher's > legendary SFMOMA "Art in Cinema" series. COFS' eclectic programs continued > at occasional intervals until the screenings ceased a handful of years > later. The reconstituted Camera Obscura has attempted to recreate the > spirit of these programs and, for the past decade, it has done exactly that! > > As in prior Reports, the complete program of screenings and events will > only be announced in the days prior to opening night. This particular > edition seems destined to be the most extraordinary of them all! > > *SUNDAY, NOVEMBER 24, 2024* Venue type: *Live, physical event* > Harvard Film Archive > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=daf8bf4c13&e=857b71a9cb> > 3pm EST, > 24 Quincy St, Cambridge, MA > *Drawn to Bits: The Zagreb School of Animation* > > *Ersatz, AKA The Substitute (Surogat)*, Directed by Du?an Vukoti?. > Yugoslavia, 1961, 35mm, color, 10 min. Print source: HFA > *The Play (Igra)*, Directed by Du?an Vukoti?. Yugoslavia, 1962, 35mm, > color, 12 min. Print source: HFA > *Everyday Chronicle, AKA A Little Story (Mala kronika)*, Directed by > Vatroslav Mimica. Yugoslavia, 1962, 35mm, color, 11 min. Print source: HFA > *Tamer of Wild Horses (Krotitelj divljih konja)*, Directed by Nedeljko > Dragi?. Yugoslavia, 1966, 16mm, color, 8 min. Print source: HFA > *The Fly (Muha)*, Directed by Aleksandar Marks and Vladimir Jutri?a. > Yugoslavia, 1966, 35mm, color, 8 min. Print source: HFA > *Of Holes and Corks (O rupama i ?epovima)*, Directed by Ante Zaninovi?. > Yugoslavia, 1967, 35mm, color, 9 min. Print source: HFA > *Passing Days (Idu dani)*, Directed by Nedeljko Dragi?. Yugoslavia, 1969, > 35mm, color, 9 min. Print source: HFA > *Dialogue (Dijalog)*, Directed by Dragutin Vunak. Yugoslavia, 1969, 16mm, > color, 1 min. Print source: HFA > *The Masque of the Red Death (Maska crvene smrti)*, Directed by Pavao > ?talter and Branko Ranitovi?. Yugoslavia, 1969, 35mm, color, 9 min. Print > source: HFA > *Ars Gratia Artis*, Directed by Du?an Vukoti?. Yugoslavia, 1970, 16mm, > color, 9 min. Print source: HFA > > The ?Zagreb School,? as Andr? Martin and Georges Sadoul labeled it at the > 1958 Cannes festival, denotes one of Yugoslav filmmaking?s strongest, > drollest and most internationally prominent episodes. Its zenith took place > from approximately 1957 (when newspaper cartoonists, illustrators, sound > designers, puppeteers and hand-drawn image virtuosos of various sorts > united under the aegis of the then-newly-initiated Zagreb Film) all the way > to 1980 and the economic calamities inhibiting the country that decade. The > group?s enormous success and popularity with transatlantic audiences is > evidenced not only by abundant contemporaneous screenings, series and > awards?New York?s Museum of Modern Art alone organized two extensive > retrospectives by the end of the 70s?but also by the existence of Zagreb > film prints in archives across North America, including at this > institution. Of the (at least) seventeen gorgeously saturated copies held > at the Harvard Film Archive, we have opted to project ten. > > The influences, art-historical forerunners and philosophic currents from > which Zagreb-associated craftspeople drew have been documented thoroughly: > Walt Disney, Jiri Trnka, United Productions of America, German > expressionist painting, Dziga Vertov, New Objectivity, Dada and George > Grosz. Alongside them, to be sure, flourished a potent dose of Suprematism, > Surrealism and the abstract hyperlinear geometrics of Mondrian. For all > their conspicuous graphic indebtedness to modernist trends and ideas > however, the films also tread their own unique course. Paul Morton > appraises it precisely: ?While the best-known Czech and Soviet animation > indulges national-folk stylizations and contemporary domestic issues, the > Zagreb School?s major themes are universal?industrialization, militarism, > environmentalism, nuclear annihilation, and urban alienation, as well as > the conforming pressures of commercialization and mass culture.? Especially > invested in narratives of the hapless ?small man? (mali covjek), > ten-or-so-minute titles prolifically emerging from the modestly-resourced > Zagreb Film conveyor line took up motifs of existential, transhistoric > magnitude with the use of fiercely au courant and anti-illusionist > techniques. > > The assortment on display here underlines some of the essential > preoccupations and expressive variety of artist-auteurs laboring within the > studio in the 60s: from Dusan Vukotic?s constructivism and the > anti-machinic, paranoid dread of Vatroslav Mimica (an animator and > soon-to-be eminent fiction director who himself could not draw) to > anxiety-infused capers of men (and indeed exclusively men) agonizing under > techno-modern duress and distress. There is even a lusciously baroque Edgar > Allan Poe adaptation courtesy of Pavao Stalter and Branko Ranitovic, > escorted by equal parts endearing and disquieting meta-gems on animation as > imaginative escape; the (im)possibility of interpersonal communication; and > humankind?s smallness in the face of flora, fauna and insecthood. > Transnational junctures abound, with intertitles often rendered in a buffet > of major languages (English, German, French, Italian and Russian, but at > times also Greek or Hebrew) and westward-oriented distribution agreements, > such as with America?s Janus Films. Eastmancolor, appropriately for the > period, is the color process of choice, with some of this screening?s > prints looking as superb as if never spooled through a projector. > > *SUNDAY, NOVEMBER 25, 2024* Venue type: *Live, physical event* > Harvard Film Archive > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9db5ea2e37&e=857b71a9cb> > 7pm EST, > 24 Quincy Street, Cambridge, MA > *Le D?pays + Sans soleil *(Screening on 35mm) > The Harvard Film Archive celebrates a beautiful new edition of Chris > Marker's long-unavailable photo-essay *Le D?pays*, a meditation on Tokyo, > memory, desire and the photographic image made at the same time as his > film *Sans > soleil*, with which it is in rich and clear dialogue. Copies of the > beautiful new edition of *Le D?pays*, published by the Film Desk, will be > available for sale before and after the screening of a rare 35mm print from > the Harvard Film Archive collection. Artist and writer Sadie Rebecca > Starnes, who spearheaded the project and wrote an insightful preface for > the new edition, will be joined in conversation by Max Goldberg, Creative > Arts Archivist at Houghton Library. > > Marker?s ruminative, melancholy masterpiece channels the imagination of a > lonely traveling cameraman?evoked in letters from distant Africa and > Japan?into a profound meditation on the creative conjuring powers of > memory, place and image. Among the most brilliant examples of the essay > film, *Sans soleil *uses a lyrical, associative structure to transform > modern Japan into a vivid metaphor for the scintillating mosaic of fact, > fiction and fantasy that defines the increasingly mediated imageworld in > which we live. A crucial bridge between Marker?s adventurous earlier travel > films and his growing interest in media and technology, *Sans soleil* is > one of Marker?s most dazzling and inexhaustible works. > > *Sans soleil *Directed by Chris Marker. France, 1983, 35mm, color, 104 min. > In English. Print source: HFA > > *___________________________________________________________________* > > Venue type: *Live, physical event* > Academy Museum > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=da55e234a7&e=857b71a9cb> > 7:30pm PT, > Academy Museum, Ted Mann Theater, 6067 Wilshire Boulevard, Los Angeles, CA > 90036 > *The Divine Visions of Ishu Patel* > Internationally esteemed for his stunning animated shorts, two-time Oscar > nominee Ishu Patel has influenced and inspired generations of fans and > fellow animators with his gorgeously crafted and exquisitely realized > films. Often working in completely different techniques for each > production, his philosophically rich and deeply affecting films redefined > the boundaries of artistry and expression in the world of independent > animation. > > Born in Gujarat, India, in 1942, Patel was inspired to explore animation > through his early experiences with films by Norman McLaren and other > National Film Board of Canada (NFB) animators, eventually relocating to > Montreal in the early 1970s.?Working with the NFB, he went on to create > several extraordinary short, experimental animations, as well as organize > animation workshops around the world. > > This program features six of Patel?s most memorable and visionary works, > including his Oscar-nominated films *Paradise* (1984) and *The Bead > Game* (1977), > as well as *Afterlife* (1978)?his breathtaking rumination on death and > transformation, made entirely by animating luminous, backlit plasticine on > glass. > > Programmed and note by Academy Film Archive Senior Film Preservationist > Mark Toscano. > > All films directed by Ishu Patel and courtesy of the National Film Board of > Canada. > > *How Death Came to Earth* 1971. 15 min. Canada. Color. English. Digital. > *Perspectrum* 1975. 7 min. Canada. Color. Sound. Digital. > *The Bead Game* 1977. 6 min. Canada. Color. Sound. Digital. > *Paradise* 1984. 16 min. Canada. Color. Sound. Digital. > *Divine Fate* 1993. 10 min. Canada. Color. English. Digital. > *Afterlife* 1978. 8 min. Canada. Color. English and French titles. Digital. > > Total program runtime: 62 min. > > Academy Museum film programming generously funded by the Richard Roth > Foundation. Theater accessibility accommodations available upon request. > > *THURSDAY, NOVEMBER 28, 2024* Venue type: *Live, physical event* > Seoul Art Cinema > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b7c2648b34&e=857b71a9cb> > 7:30pm UTC+9, > 22-7 Jeongdong, Jung-gu, Seoul, South Korea > *Frameworks monthly experimental screening - Dore O* > An evening of films by Dore O: > *Alaska* (1968, 16 min) > *Kaldalon* (1971, 42 min) > *Kaskara* (1974, 19 min) > > Dore O. (1946?2022), the only woman cofounder of the Hamburg Film-Coop, > started making films alongside Werner Nekes, her husband at the time. A > trailblazer, she actively seeked out new forms of personal expression > through the medium, creating a unique body of beautiful and inspirational > work. Her films were recently restored by the Deutsche Kinemathek. "From > her first film, *J?m-J?m* (co-directed with Werner Nekes), to her last film > of the 1970s, her work followed an almost historical trajectory in which > painterly, graphic, and poetic conceptions of the medium were madeover into > distinctly cinematic terms, which eventually served as a means of exploring > new modes of subjectivity, states of consciousness, and suppressed > stories." - Masha Matzke > > *SUNDAY, DECEMBER 1, 2024* Venue type: *Live, physical event* > Harvard Film Archive > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2510392b36&e=857b71a9cb> > 3pm EST, > 24 Quincy Street, Cambridge, MA > *Film No. 18 (Mahagonny)* > Directed by Harry Smith. US, 1970-80, DCP, color and b&w, 141 min. DCP > source: Harry Smith Archives > > Edited from eleven hours of footage, Smith?s magnum opus (or ??One? Big > Ceremony?) was ten years in the making and consisted of four 16mm > projections in a square. The film premiered at Anthology Film Archives in > 1980, and Smith described it in his press release as ?a mathematical > analysis of Duchamp?s [*The Bride Stripped Bare by Her Bachelors**, > **Even or The > Large Glass*] expressed in terms of Kurt Weill?s score for [*Rise and Fall > of the City of Mahagonny*] with contrapuntal images (not necessarily in > order) derived from Brecht?s libretto for the latter work.? However, Jonas > Mekas offered that, ?as *The Large Glass* is shattered, Harry shattered > Brecht?s original. He didn?t interpret Brecht?s opera, he transformed it.? > Obsessed with the opera, Smith said he selected it as a basis for the film > not only for its musical complexity and ?sections that approximate the > sounds of other musical cultures?,? but also because of its simple, > universal story: ?the joyous gathering together of a great number of > people, their breaking of the rules of liberty and love, and consequent > fall into oblivion.? The four screens feature four sets of > imagery?portraits, animation, symbols and nature?which communicate with one > another in myriad ways and are interrupted by a variety of ?uncategorized? > shots and visual pauses. With this experiment, Smith was really testing the > limits of cinema. As John Szwed summarizes: ?Out-of-sync sequences, > overexposure, reversed images, speed changes, repetition of images, > reframing and reshaping the screen from rectangle to square, and verbal > disruptions of the performances?all would appear to be an effort to expose > and demystify the techniques of conventional narrative motion pictures.? > Smith also tested the patience of Mekas, who had to manage the director?s > increasingly volatile antics during shows. Its limited theatrical run did > not appear to overly trouble Smith, who noted that *Mahagonny* ?was > designed to be shown over a 500-year period, or so, and consequently will > scarcely be a box office smash during my life time: but will continually > grow in popularity and be there for the increasingly large number of people > who have the consciousness to unravel its cryptograms.? > > The new 4K DCP was created from the 2002 restoration that combined the four > 16mm screens onto a single 35mm film. > > *___________________________________________________________________* > > Venue type: *Live, physical event* > Harvard Film Archive > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=12e9c356fa&e=857b71a9cb> > 7pm EST, > 24 Quincy St, Cambridge, MA > *Alienating Images: Animation Elsewhere and Otherwise* > Yugoslav animated cinema did not thrive only in the Croatian capital; > initiatives, studios and (most importantly) eager innovators suffused the > entire region. Highlighting eight disparate artists and ten remarkable, > underwatched films, this screening congregates animation in the expanded > field. Triumphs of manual and stop-motion ingenuity are included, but so > too are endeavors in cameraless direct-to-film etching, compilation and > derivative collage, as well as certain light, movement and color > manipulations. Instead of foregrounding animation narrowly, we enlarge the > perspective to other optic interventions and lens- or reel-based tinkering > of various kinds. The ambition is to demonstrate that original > non-live-action imagemaking in the other republics blossomed?often > negating, or at least being indifferent to, Zagreb?s modernist > (anti-)mimetic idiom. But we also seek to focalize animation in the context > of other artistic mediums, fashions and practices. Just as *Fantastic > Ballad*, Bo?tjan Hladnik?s superlative white-on-black shadow play (and the > earliest title in the entire retrospective), emerged out of a cooperation > with lyricist Lojze Gosti?a and painter France Miheli?, Vladimir Petek?s > imposing intermedial opus (from which we are showing one classic and one > recently digitized rarity) is in never-ending dialogue with cinema as well > as with the artist?s own aesthetic evolution. Engaged in garbling the > transparent image, or in dethroning animation?s central conceits, these > films borrow freely from art and from transnational artistic discourses of > their time. > > Some of the shorts are results of accidents or contingencies: Slovene > puppet wizard ?rt ?kodlar, as curator Igor Prassel reminds us, made *Morning, > Lake and Evening at Annecy* after he mistakenly arrived to ?the Venice of > the Alps? in the year its illustrious animation biennial was *not* taking > place, leaving the traveler with time to create. Other films (specifically > Duba Sambolec?s *Hands*) are not animated at all, categorized as such only > retroactively by the artist: ?the film is an animated film with a living > object. The starting idea of the film was to present the hands as an > autonomous living object and to explore through animation in various > movements what they can do in a way as if they were separated from the > body.? Still others deploy advanced ocular techniques to hallucinatory > ends?rotoscoping in the case of Divna Jovanovi??s *Transformation*, and > a barrage of pseudo-kaleidoscopic grid-adjacent filters in Slavko > Alma?an?s *Meduza > Sajana*, a declared homage to Georges M?li?s (but closer in spirit to the > ethereal love poetics of a James Broughton or indeed to the intergalactics > of Jordan Belson). Music and electronic sound effects, always assertive but > never grating, play roles in the frenetic experiments of Zoran Jovanovi? > and Slobodan Mi?i?, both resolute blind spots on the regional > film-historical map. With Jovanovi??s *Marxians*?a class-conflict > psychodrama that thematizes alienation both as a (de)subjectifying assault > and as quite literally a process of becoming-alien (not a *Martian* but a > *Marxian*)?we might be able to conclude that the films under consideration > alienate, *estrange* the animated image, turning and twisting it into > something other than itself, which is to say into the no-man?s-land between > life, figment and cel-based concoction. > *Fantastic Ballad (Fantasti?na balada) *Directed by Bo?tjan Hladnik. > Yugoslavia, 1957, 35mm, color, 11 min. Print source: HFA > *Encounter (Sretanje) *Directed by Vladimir Petek. Yugoslavia, 1963, DCP, > color and b&w, 7 min. DCP source: Croatian Film Association > *Morning, Lake and Evening at Annecy (Jutro, jezero in ve?er v > Annecyju) *Directed > by ?rt ?kodlar. Yugoslavia, 1965, 35mm, color, 8 min. Print source: > Slovenian Film Archives > *One Hand ? 30 Swords (Jedna ruka 30 ma?eva) *Directed by Vladimir Petek. > Yugoslavia, 1967, DCP, color, 12 min. DCP source: Croatian Film Association > *Hands (Roke)* Directed by Duba Sambolec. Yugoslavia, 1969/70, digital > video, black & white, silent, 4 min. Copy source: Filmmaker > *Transformation (Preobrazaj) *Directed by Divna Jovanovi?. Yugoslavia, > 1973, DCP, color, 3 min. DCP source: Delta Video > *Meduza Sajana* Directed by Slavko Alma?an. Yugoslavia, 1976, 35mm, color, > 15 min. Print source: HFA > *Antidogmin *Directed by Zoran Jovanovi?. Yugoslavia, 1976, 35mm, color, 7 > min. Print source: HFA > *Contemporary (Savremenik) *Directed by Slobodan Mi?i?. Yugoslavia, 1982, > digital video, color, 6 min. Copy source: Alternative Film Archive > *Marxians (Marksijanci)* Directed by Zoran Jovanovi?. Yugoslavia, 1984, > 35mm, color, 9 min. Print source: HFA > > *ONGOING* > > Venue type: *Virtual, online event* > Riverwest Radio > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=288f11adeb&e=857b71a9cb> > streaming 24/7 > *THE LONG CONVERSATION* > THE LONG CONVERSATION with Xav Leplae and Stephanie Barber is on indefinite > hold. But... all episodes from the last year and a half are streaming!!! > > *___________________________________________________________________* > > Venue type: *Virtual, online event* > 6x6 Project > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ab91c165d5&e=857b71a9cb> > streaming 24/7 > *Artists' Moving Image Works* > 6x6 project is an online artists' community that serves as a platform for > disseminating artists' moving image works, and to create > an ever-growing network among peers. > > There are now more than four hundred artists? film and moving image works > available to view on the website. > > > > > > ------------------------------ > > > > *Let us know about your alternative film/video event!* > > Enter your event announcements by going to the Flicker Weekly Listing Form > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=06cd16c117&e=857b71a9cb> > . > > > > To receive the weekly listing directly via email rather than through > Frameworks, just hit Subscribe > <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=091193278b&e=857b71a9cb> > . > > > > > *** TWIAGC is looking to pass the torch to a new facilitator *** > Please contact *[email protected] > <[email protected]>* for details > > > > > > *Copyright ? 2020 Flicker, All rights reserved.* > Longtime recipient of This Week in Avant Garde Cinema > This Week in Avant Garde Cinema ? everywhere ? Cincinnati, OH 45201 ? USA > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <http://film-gallery.org/pipermail/frameworks_film-gallery.org/attachments/20241124/6b1bfa43/attachment-0001.htm> > > ------------------------------ > > Message: 2 > Date: Mon, 25 Nov 2024 18:21:33 +0100 > From: Albert Alcoz <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Subject: [Frameworks] Cinema on paper: diagrams, graphics, drawings > and skecthes > Message-ID: > <ca+naz+wiqn6reock6hnjc9wrpvzawu0aju5zbvv0pmmlgox...@mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > Hello, > > I'm trying to arrange some information concerning diagrams, graphics, > drawings and sketches created before doing pieces of experimental > filmmaking. I found some ideas here and there but it would be great to know > more about it. > > Is there any book, exhibition, filmmaker or project related to this topic > you can suggest? > > Right now I have been thinking on Paul Sharits, Kurt Kren, Rose Lowder, > Heinz Emigholz, Ladislav Galeta's diagrams, the book *Cinema by Other Means* > by > Pavle Levi and some projects such as the exhibition "Cine en papel" at the > (S8) curated by Gloria Vilches and Elena Duque. > > Any ideas would be appreciated. > > All the best, > Albert Alcoz > -- > http://albertalcoz.com/ <http://www.albertalcoz.com/> > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <http://film-gallery.org/pipermail/frameworks_film-gallery.org/attachments/20241125/edb0fe48/attachment-0001.htm> > > ------------------------------ > > Message: 3 > Date: Mon, 25 Nov 2024 12:31:37 -0500 > From: Paul Attard <[email protected]> > To: [email protected] > Subject: [Frameworks] Motion Over Pictures: Two Evenings of Fred > Worden > Message-ID: > <CAK5xxi_7Jvnd8vc=gfj-7bganbu5_pxeynffakoc01pyp0b...@mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > Hey hey everyone, > > I wanted to let interested parties know about a retrospective of Fred > Worden's 16mm film and digital work that will be taking place at Spectacle > Theatre on the 6th and 7th of next month. The program is curated by yours > truly and Stephen Cappel, with in-person introductions by Mark Toscano at > all four screenings. Here's the link for program notes and tickets: > > https://www.spectacletheater.com/fred-worden/ > > Hopefully, I?ll see some of ya there! > Best, > Paul Attard > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <http://film-gallery.org/pipermail/frameworks_film-gallery.org/attachments/20241125/6402e606/attachment-0001.htm> > > ------------------------------ > > Message: 4 > Date: Mon, 25 Nov 2024 09:33:03 -0800 > From: Interbay Cinema Society <[email protected]> > To: Frameworks <[email protected]> > Subject: [Frameworks] Lightpress grants deadline Nov. 30 > Message-ID: > <CAC3CkjUN2Q=WtW8VwTMwHn=ahwf48drxd2anefyr6h0myle...@mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > Dear Filmmakers, > > The deadline for this round of Lightpress grants is Nov. 30th. If you are > in need of digitization for your film projects, you should consider > applying. The application form is straightforward and only takes a few > minutes. You can find it here > <https://interbaycinemasociety.org/lightpress-grant-application-form/>. > You can see a list of past recipients here > <https://interbaycinemasociety.org/past-recipients/>. > > These grants were established by the late American experimental filmmaker > Jon Behrens and are administered by the Interbay Cinema Society, an > organization he also founded. > > We accept applications for filmmakers based overseas. We accept > applications from filmmakers who have already received grants. *New this > round, we can now accept applications for Super 8 and 8mm transfers.* We > mostly award grants to established and emerging filmmakers. We like to > award grants to help preserve archival work. > > Questions? Please ask. > > Best wishes, > > CC > > -- > Caryn Cline > Executive Director > The Interbay Cinema Society > The Engauge Experimental Film Festival > www.interbaycinemasociety.org > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <http://film-gallery.org/pipermail/frameworks_film-gallery.org/attachments/20241125/99a0cf5d/attachment-0001.htm> > > ------------------------------ > > Subject: Digest Footer > > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > > > ------------------------------ > > End of Frameworks Digest, Vol 200, Issue 1 > ****************************************** -- Frameworks mailing list [email protected] https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
