This may be a bit academic, but there are conventions of citation within
publishing, as well as a body of thought about "best practices" bearing on
digital uses.  I was remarking on the fact that all of the titles are
written in lower case, and this seems unlikely to be how they were all
titled.  Your list doesn't identify format, either in production or
exhibition.  There might be an interesting conversation you are having in
your programming and with your audience members, but from my experience,
the odds are growing that a film will be shown WITHOUT the artist's
consent, that it will be shown DIGITALLY, and that it will be listed, of
course, in a way that misrepresents the artist's intentions.

Bernie

On Thu, Jan 28, 2016 at 2:41 PM, Marco Poloni <mar.pol...@gmail.com> wrote:

> Hey Bernard,
> I am not sure I get your point about higher and lower case. What I
> sent you is a copy paste of one of my work documents. The films were
> organized in groups according to thematic lines and some conceptual
> affinities amongst them, and properly introduced.
>
>
> On 28 January 2016 at 21:09, Bernard Roddy <tactilecor...@gmail.com>
> wrote:
> > Hi Marco:
> >
> > I wasn't watchng when you posted the request, but I have to wonder how
> these
> > works were shown, given that everything has been forced into lower case
> > titles.
> >
> > On Thu, Jan 28, 2016 at 1:56 PM, Marco Poloni <mar.pol...@gmail.com>
> wrote:
> >>
> >> Hello all,
> >> I just finished screening a number of films at the University of the
> >> Arts of Helsinki, in the context of a workshop for graduate students
> >> about filmmaking at the anthropocene.
> >> Some of you helped me identify suitable movies, and I am very thankful
> >> to you. I had promised, in return, to share my final selection. Here
> >> it is.
> >> Very best,
> >> Marco
> >>
> >> susan schuppli, can the sun lie?, 2011 (?)
> >> michael snow, la region centrale, 1971
> >> carlos reygadas, silent light, 2007
> >> bruce conner, crossroads, 1975
> >> steven osazaki, white light, black rain, 2007
> >> robert smithson, spiral jetty, 1970
> >> james benning, casting a glance, 2007
> >> marco poloni, the analogue dam, 2010
> >> thomas campbell, the present, 2009
> >> jean  painlevé, the love life of the octopus, 1967
> >> walon green, the secret life of plants, 1978
> >> ramin bahrani, the plastic bag, 2009
> >> chris welsby, wind vane, 1972 (not projected, could not find a copy in
> >> time)
> >> and, along the lines of an animistic turn:
> >> jean rouch, les maîtres-fous, 1955
> >> alfred clah, intrepid shadows, 1966
> >> lucien castaing-taylor & véréna paravel, leviathan, 2012
> >>
> >> --
> >>
> >>
> >>
> >> Marco Poloni
> >> http://www.theanalogueislandbureau.net
> >> Usedomer Strasse 8
> >> D – 13355 Berlin
> >> gsm de +49.163.6294080
> >> gsm ch +41.78.6322028
> >> skype marcopoloni
> >> _______________________________________________
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> >> FrameWorks@jonasmekasfilms.com
> >> https://mailman-mail5.webfaction.com/listinfo/frameworks
> >
> >
> >
> > _______________________________________________
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> >
>
>
>
> --
>
>
>
> Marco Poloni
> http://www.theanalogueislandbureau.net
> Usedomer Strasse 8
> D – 13355 Berlin
> gsm de +49.163.6294080
> gsm ch +41.78.6322028
> skype marcopoloni
> _______________________________________________
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
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