There was also a film that ran for some time with only a very gradual change in 
image (fog rising) but a growing noise level.  Early on, after the shorts 
before it, you knew you were in for an uncompromising experience, like it or 
not.  It reminded me that Patricia Mellencamp's description of Michael Snow 
(how does it go, generally left in French, the one made with a the camera 
attached to an arm, the one you only encounter in that still image of the 
contraption, anyway . .), so, like, Mellencamp says in her book, Indiscretions, 
that only Jean-Francois Lyotard was in the audience with her during the 


 From: Jason Halprin <>
To: Bernard Roddy <>; Experimental Film Discussion List 
Sent: Saturday, May 26, 2012 3:37 PM
Subject: Re: [Frameworks] Open Programming at Millenium


 From: Bernard Roddy <>
To: Experimental Film Discussion List <> 
Sent: Saturday, May 26, 2012 3:25 PM
Subject: [Frameworks] Open Programming at Millenium

Someone do a show of only Brian Frye.  I can't get what he showed at 
Experiments in Cinema out of my head.  I imagine some attorney going over files 
and videotape from court cases and thinking, hey, here's a fascinating 
narrative film, as is, untouched . . or no, it's a documentary, covering an 
allegation of police brutality, but wait, it's artist's video, pure 
appropriation and replacement in a new context.  

Of just Jesse McLean.  I was at Experiments only the first two days, but will 
never forget that string of karaoke performances.  I was moved, for God's sake.


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