I think this work by Tony mentioned by Fred is reproduced as a diagram/instruction in: W + B Hein : Dokumente 1967-1985, Fotos, Briefe, Texte.
On Thu, Jan 14, 2016 at 12:47 AM, Cinema Project <[email protected]> wrote: > Jesse! > > In regards to "well-deployed spoilers," I might look into Maurice > LeMaître's "Le film est déjà commencé?" from 1952. It was a Lettrist film > and supposed staged provocation. There's some accounts/ info on it in > Off-Screen Cinema by Kaira M Cabañas. > > Might not be what you're looking for at all, but it's an interesting sort > of (delayed) response to those legendary "reactions." > > Mia Ferm > > -- > *Cinema Project* > www.cinemaproject.org > 971-266-0085 > PO Box 5991 > Portland, OR 97228 > > > On Wed, Jan 13, 2016 at 8:50 PM, Fred Camper <[email protected]> wrote: > >> Yes, that's right. Because it was positive film, a succession of black >> and white rectangles appeared inside each other as with each new pass the >> previous result was filmed. I believe it was around 40 minutes long. It was >> really interesting; I had never seen anything like it before, and have not >> since. >> >> Fred Camper >> >> >> On 1/13/2016 11:32 PM, Gene Youngblood wrote: >> >> I believe Tony Conrad did some kind of demonstration or performance of >> “film feedback” in which exposed 16mm film went immediately into a >> developing bath and was projected, and the projection was filmed and >> projected, and so on. No doubt someone on this list remembers that and can >> describe it properly. Also, for scholars of early video, in the current >> issue of Afterimage Robyn Farrell has an in-depth history of Gerry Schum’s >> “TV Gallery” and “Video Gallery” projects in Germany in the late sixties, >> which I only alluded to in passing in Expanded Cinema. >> >> >> On Jan 13, 2016, at 3:17 PM, robert harris <[email protected]> wrote: >> >> The “early cinema/early video” query is a good one, one that I’ve not >> seen explored with much rigor. >> >> Kleinhans’ question of “broadcast TV or portapak” is significant. >> >> Early TV might have more in common with radio than with early film. >> >> Early video (portapak) provoked, for some practitioners, sensibilities in >> keeping with those of the Lumieres. >> >> The Lumiere camera was more like video than any other camera (including >> the Edison version) as it was, like video, a capture and playback device >> (and lab). >> >> The promptness with which the Lumieres could playback their recordings >> (if my film mythology serves me) is almost video-like (time was a little >> slower in those days, so they say). >> >> Both early film and early video were made without post-production >> edits, hence were finished in camera. >> >> Video’s instant feedback loop is an unequivocal distinction from film. >> >> To give proper attention to all origin strains of video, you have to >> consider camera-less, raster based work (Nam June Paik, Wolf Vostell and >> others). >> >> The “early cinema” equivalent might be the first people to mark on clear >> leader, some Italian Futurists, Hans Richter, Man Ray etc. >> >> As to cultural “outrage”, it wasn’t uncommon for the people throwing >> things at the artists and making big scenes to be the Surrealists >> themselves. >> >> >> >> Some worthy writing of early video (essays you should be able to easily >> find): >> >> Hollis Frampton, *The Withering Away of the State of the Art* >> >> David Antin, *Video: The Distinctive Features of the Medium* >> >> >> >> On Jan 13, 2016, at 2:46 AM, Chuck Kleinhans <[email protected]> >> wrote: >> >> An answer depends on how “early” you’re talking about film (1890s? >> later?), and about video (Broadcast TV or Portapak?). Probably the most >> significant common feature is the fixed camera position. >> >> The most significant difference (beyond the obvious one of resolution) is >> shot duration. Video (portpak on) allowed for remarkably long shots >> compared to almost all film. >> >> If you (or anyone) can find it, Noel Burch’s film “Correction Please, or >> How We Got Into Pictures” is a great explanation of the evolution of early >> films' means and style, concentrating on how the audience was shaped by the >> evolving formal elements of cinema. >> >> Chuck Kleinhans >> _______________________________________________ >> FrameWorks mailing list >> [email protected] >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> >> _______________________________________________ >> FrameWorks mailing list >> [email protected] >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> >> >> >> _______________________________________________ >> FrameWorks mailing >> [email protected]https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> >> >> _______________________________________________ >> FrameWorks mailing list >> [email protected] >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> > > > > > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks > >
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