Bruce Baillie's 'Castro Street' has some really beautiful optical printing work.

From: bigmuddy2...@hotmail.com
Date: Wed, 6 Aug 2014 13:32:24 -0600
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] films using the optical printer

This is a great list! Barbara Hammer would be a good addition 

Sent from my iPhone
On Aug 6, 2014, at 1:29 PM, "Jason Halprin" <jihalp...@gmail.com> wrote:

Hi Carolyn,

Below is the screening list from the last time I taught Optical Printing at 
Columbia College. I agree that Pat O'Neill is probably the greatest example of 
Optical Printing artistry, and include much of his work is available for 
purchase in DVD form. However, I would also stress that it was amazing to take 
the prints of his work and view them on rewinds with a light table so that 
students could really study how he created his "looks". I love Water and Power 
too, and usually saved it until the last class in the semester.

-Jason Halprin





















DAILY SCHEDULE

 

Class 01 – January 25th
Screening:       Pas de deux (Norman McLaren, 13 min,
1968)

 

Class 02- February 1stScreening:       Passage à l'acte (Martin Arnold, 15
min., 1993)


 

Class 03- February 8thScreening:       Piece Touche (Martin Arnold, 15
min., 1989) 


                        Zocalo
(Richard Myers, 15 min, 1972)


                        Spitting Image (Paula
Froehle, 3 min., 1992)


 

Class 04- February 15thScreeing:         7362 (Pat O’Neill, 10 min, 1967)



                        Roseblood (Sharon Couzin,
7 min., 1974)


 

Class 05- February 22nd
Screening:       Watersmith
(Will Hindle, 25 min, 1969)

                        Film
Wipe Film (Paul Glabicki, 32 min, 1984)

 

Class 06 
Screening:       Wild Gunman (Craig Baldwin, 20 min,
1978)


                        Television Assassination
(Bruce Conner, 14 min, 1964/95)


                        Cosmic Ray (Bruce Conner,
4 min, 1961)


 

Class 07- March 8th

Screening:       Alone, Life Wastes Andy Hardy
(Martin Arnold, 15 min, 1998)


                        Flicker: Unsteady Motion
(Paula Frohele, 7 min, 1995)


 

 

Class 08- March 15thScreening:       Frame (Ken Kobland, 10 min, 1976)



                        Vestibule (Ken Kobland,
24 min, 1979)


 

Class 09- March 29th



Screening:       Chinese Fire Drill (Will Hindle, 25
min, 1968)


                        Runs Good (Pat O’Neill,
15 min, 1970)


 

 

Class 10- April 5thScreening:       Elasticity (Chick Strand, 25 min,
1976)


                        Babobilicons (Dana
Krummins, 18 min, 1982)


 

Class 11- April 12th



Screening:       Nocturne (Phil Solomon, 10 min,
1980)


                        Remains to be Seen (Phil
Solomon, 17 min, 1989)




Class
12- April 19th
Screening:       The
Idea (Bill Knowland, 20 min, 1990)

 

Class 13- April 26th 
Screening:       Milk
and Honey (Kate McCabe, 17 min, 2004)

                        Montessori
Sword Fight (Mary Beth Reed, 7 min, 2002)

 

Class 14- May 3rd
Screening:       Water
and Power (Pat O’Neill, 54 min, 1989)






Jason Halprin
jihalp...@gmail.com


On Wed, Aug 6, 2014 at 12:10 PM, Gene Youngblood <ato...@comcast.net> wrote:





I join Marcos and Adam in stressing the importance of Pat O’Neill here. 
Optical printing doesn’t get any better if by that term we mean an art form, an 
aesthetic practice, not a technique.  Another artist from Pat’s generation 
known for his optical printing is Will Hindle


 

From: Adam Hyman 
Sent: Wednesday, August 06, 2014 10:57 AM
To: Experimental Film Discussion 
List 
Subject: Re: [Frameworks] films using the optical 
printer
 
The entire oeuvre 
of Pat O’Neill is essential, and very influential.

We did a screening 
with a various of interesting optically printed films as part of Alternative 
Projections.
http://www.alternativeprojections.com/screening-series/visions-memory-and-a-machine-optical-manipulations/



On 
8/6/14 9:22 AM, "Gawthrop, Rob" <rob.gawth...@falmouth.ac.uk> 
wrote:


Monkey's Birthday, David Larcher; - colour separation, 
  superimposition, bi-packing etc.

Slides, Annabel Nicholson; pulling 
  film through the gate etc

Film Sound, Andy Moss; short edits/loops 
  (sound and picture), superimpositions

(all at LUX, 
  London.)

Rob

From: Caryn Cline 
  <carynycl...@gmail.com>
Reply-To: Experimental Film Discussion List 
  <frameworks@jonasmekasfilms.com>
Date: Wed, 6 Aug 2014 09:06:12 
  -0700
To: Experimental Film Discussion List 
  <FrameWorks@jonasmekasfilms.com>
Subject: [Frameworks] films using 
  the optical printer

Dear Frameworkers,

If I were going to 
  undertake a series of screenings showcasing optical printer techniques, what 
  work would you recommend?  What is the best work for understanding the 
  cinematic potential in optical printing?  Are there any texts that could 
  be included?  I'm asking for my own enlightenment and to take my own OP 
  work to another level, but I might also try to put together a public 
screening 
  at some point.

Many thanks, as always, for your thoughts and 
  advice.

CC   





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