Thank you for your enthusiastic comments, Bernie. I couldn't agree more, but, then, I did a little of the programming. I just wanted to add that the "Collaborating with Nature" program on Sunday (which I co-curated with Julie Perini), which was so enthusiastically received, was a challenging program to project. We had two films that ran on 16mm at 18fps. Several other films on 16mm that needed to be built into a reel. One loop that opened the show. A handmade film that had to be projected on a slot load set up on the floor of the theater. And in the middle, a switch to digital. The fantastic, patient, persistent Keif Henley, owner and projectionist at the Guild in Albuquerque, was instrumental. We couldn't have mounted such a difficult program without him and his superb cinema and machines. Bryan and Michelle and the whole EIC crew are absolutely incredible.
CC On Mon, Apr 22, 2013 at 9:12 PM, Bernard Roddy <rodd...@yahoo.com> wrote: > Bryan, that was amazing. If it appeared at one time that the meaning of a > film screening were being lost, Experiments in Cinema is correcting the > impression. I don't understand how there could be so many people in a > cinema theater, night after night, in the middle of the week as well as on > Saturday, and for experimental work - new work! No classics of the > avant-garde here. On Sunday at noon? For work devoted to "collaborations > with the earth"? In Albuquerque? What is going on! It has been a very > long time since I waited in anticipation for a screening like I did last > week - again and again. It's not the academic careers sustained by such a > program, or the educational value of such an experience to people in town: > I keep thinking about what it must've been like early on, sitting up there > in the front row during the screenings of particularly demanding works, at > a time when film . . even video . . the whole theatrical experience, > really, has seemed an anachronism. Sitting up there, then, after listing > the sponsors. And how could such an event draw such sponsorship? I don't > understand. I don't need to understand. The work in video from Turkey > that Ekrem Serder showed renewed my interest in abstraction. Again and > again a film was shown with an optical sound track, an experiment, really. > I didn't even see it all. I could afford to be annoyed. I could afford to > walk out of a show early. I could afford to be an asshole. > > Bernie > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > -- Caryn Cline Filmmaker and Teacher New York City and Seattle, WA vimeo.com/carynyc
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