I've been keeping an eye on this thread, and every time a new message comes across, it makes me think of these two examples, possibly too tangential to the original poster's intent.
"Two Films I Never Made" (1973), by Herbert Jean de Grasse. It's just 4 minutes of black leader where the filmmaker relates what we'd be seeing had he made the films. A bit of a throwaway, but I seem to recall we showed it more than once at the Experimental Film Coalition screenings in Chicago and audiences enjoyed de Grasse's mischievous narration. http://canyoncinema.com/catalog/film/?i=740 I was sad to learn that Mr. de Grasse passed away towards the end of 2012. http://napavalleyregister.com/obituaries/herbert-jean-de-grasse/article_44ac2036-522d-11e2-9383-0019bb2963f4.html And for a musical example, John Darnielle (The Mountain Goats) has a side project with Franklin Bruno called "The Extra Lens", and the song "Only Existing Footage" on their recording "Undercard" (2010) chronicles the unraveling of a film project. "Annihilation pouring since it found out where I drink." Eric On Sun, Dec 14, 2014 at 7:26 AM, <paris-experimen...@numericable.fr> wrote: > > in 2003-2006 I tried to recompose an unfinished (experimental) film left > by one of my student/ > Here is the beginning of the film > *OUT OF (k)NOWHERE : A FILM BY ANNE PRAT* (2003-2006) > > DV, bw/color, sound, 24 min. > > > > > > *« Ouverture »* > > > > Very little was left of the film by Anne Prat, a brilliant student who > studied cinema with me at the University of Paris in the 1970s. > > Anne Prat was not just any student. She would usually arrive twenty > minutes before the end of class – something that I found rather annoying – > and only to see the screening of the avant-garde films that concluded each > lesson. Three weeks before summer break in 1976, even though she had not > taken part in any of practical lessons, she presented a short film, shot in > the Brakhage style, which surprised all of us with its technical mastery. > She informed me she was going to stop studying and go to Australia, and > that her film was just the beginning of a larger and more complicated > cinematographic work. > > Two years later, I found out that Anne Prat, after returning to Paris, had > found work in a film lab for the sole reason of being able to develop for > free the numerous reels she had shot and to duplicate, on the sly and for > herself, some classic films she particularly liked. All this in order to > realize her ambitious film project, on which she worked tirelessly, which > consisted of a large composition for two film projectors, and various sound > fragments. She described certain passages to me, speaking of «images and > sounds that come out of nowhere, as if in a daydream» and revealed the > film’s definitive title: *Out of (k)nowhere*. > > A few weeks later, Anne Prat left a message on my answering machine, > informing me that she was returning to Australia. She told me that she had > left the material for her film at the university, in a big box, and asked > me to pick it up. At that time, I had no idea I would never going to see > her again. > > In November of 2002, while creating an inventory of my films, I > rediscovered that big box. I thought back on Anne Prat’s project, and > remembered her story and what she had told me twenty years earlier. > > So I started viewing the film and listening to the sound recordings, one > after another, in the designated numerical order. In the box, I only found > one rough scenario that indicated that the film was to be two hours long > overall and divided into a number of parts, separated from each other by > silence, darkness and the songs of exotic birds. There was a cassette > attached to the notes, of the bird songs, recorded by Australian > ornithologist John N. Hutchinson. > > Using my memory as the starting point, and the material left by Anne Prat, > I have tried to reconstruct that which *Out of (k)nowhere* could have > been. > > The film begins with the short, silent Brakhage-style work, meant for only > one screen. Later, where it was possible, I reconstructed the dual-screen > projection according to the directions in the outline. > > C. L., Paris, 7 May 2003 > This film is not on line. > If you have any interest, please contact me off list to get a DVD > > Christian Lebrat > F-Paris > > ---- Message d'origine ---- > De : "Adam Sekuler" <asekuler0...@gmail.com> > À : "Experimental Film Discussion List" <firstname.lastname@example.org> > Objet : Re: [Frameworks] films on film-making/unfinished films > Date : 10/12/2014 15:38:08 CET > > > Raya Martin and Mark Peranson's La última película > > > > On Dec 10, 2014, at 7:11 AM, christopher nigel < > christophernige...@gmail.com> wrote: > > The last movie By Dennis Hopper , Hopper was in many ways! way head ! > > On Mon, Dec 8, 2014 at 8:15 PM, Adam Hyman <a...@lafilmforum.org> wrote: > >> More documentaries about: >> >> Jodorowsky’s Dune (2014) >> http://jodorowskysdune.com/ >> >> Henri-Georges Clouzot's Inferno (2009): >> http://www.flickeralley.com/catalog/item/inferno/hardgood >> >> On 12/6/14 3:10 AM, "Freya" <freya...@yahoo.com> wrote: >> >> >> In the realm of unfinished films I'm surprised nobody mentioned *Lost in >> La Mancha *(2002) >> >> On Friday, October 10, 2014 6:54 PM, Gene Youngblood <ato...@comcast.net> >> wrote: >> >> in the unfinished films category has anyone mentioned Wim wenders' The >> State >> of Things? >> >> -----Original Message----- >> From: Amanda Christie >> Sent: Friday, October 10, 2014 11:39 AM >> To: Experimental Film Discussion List >> Subject: Re: [Frameworks] films on film-making/unfinished films >> >> my film Off Route 2 begins with myself hanging upside down in a car, but >> then the camera pulls back and reveals the film crew as i get out of the >> car >> and switch from the roll of victim to the roll of the director. I explain >> the next shot to the assistant director, then call cut, but the next shot >> that was discussed on camera is never actually filmed or shown on screen. >> >> http://www.amandadawnchristie.ca/off-route-2/ >> >> the password to view any of the preview videos on my website is: >> previewonly >> >> >> Amanda Dawn Christie >> -------------------------------- >> 506-871-2062 >> www.amandadawnchristie.ca >> ama...@amandadawnchristie.ca >> _______________________________ >> >> >> >> On 2014-10-09, at 12:40 PM, Buck Bito - Movette wrote: >> >> > Hi Suyash, >> > >> > Joel DeMott (and 'our own' Jeff Kreines): "Demon Lover Diary" (1980) >> > >> > ---Buck Bito >> > >> > Lawrence "Buck" Bito >> > Movette Film Transfer >> > 1407 Valencia St. >> > San Francisco, CA 94110 >> > (Valencia at 25th St.) >> > 415-558-8815 >> > Open Tuesday - Saturday >> > Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4 >> > www.movettefilm.com >> > >> > On Wed, October 8, 2014 11:41 pm, Suyash Barve wrote: >> >> hello all, >> >> >> >> i am looking for reference titles that fall within the genre of films >> >> made >> >> on unfinished films/films coming apart/film that is being shot or in >> >> prodcution. ... >> >> >> >> thank you for your time and effort to read through this notice. looking >> >> forward to getting some responses! >> >> >> >> S >> >> >> _______________________________________________ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > >
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