Esperanza, What we used to do in the old days was make a print from the negative, then edit that print changing order and timing, then match the negative to the edited print. Negative is fairly delicate and picks up dirt easily. Though in theory I guess you could rearrange takes. What would be your next step? Robert
withe...@earthlink.net On Oct 22, 2017, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote: > Send FrameWorks mailing list submissions to > frameworks@jonasmekasfilms.com > > To subscribe or unsubscribe via the World Wide Web, visit > https://mailman-mail5.webfaction.com/listinfo/frameworks > or, via email, send a message with subject or body 'help' to > frameworks-requ...@jonasmekasfilms.com > > You can reach the person managing the list at > frameworks-ow...@jonasmekasfilms.com > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of FrameWorks digest..." > Today's Topics: > > 1. This week [October 21 - 29, 2017] in avant garde cinema > (Flicker weekly listing) > 2. Editing neg? (Esperanza Collado) > > From: Flicker weekly listing <weeklylist...@hi-beam.net> > Subject: [Frameworks] This week [October 21 - 29, 2017] in avant garde cinema > Date: October 21, 2017 10:54:55 AM EDT > To: <frameworks@jonasmekasfilms.com> > Reply-To: Flicker weekly listing <weeklylist...@hi-beam.net> > > > > > > > This week [October 21 - 29, 2017] in avant garde cinema > > Enter your event announcements by going to the Flicker Weekly Listing Form. > > > To receive the weekly listing via email: Subscribe. To unsubscribe see the > link at the bottom of this email. > > > Light Movement 25: Snow and Ice Data [October 23, Berlin, Germany] > > NEW CALLS FOR ENTRIES: > Haverhill Film Festival (Haverhill, MA, USA; Deadline: June 01, 2018) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1951.ann > Drone Cinema Film Festival (San Francisco, CA, USA; Deadline: December 31, > 2017) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1952.ann > Black Maria Film Festival (Jersey City, NJ, USA; Deadline: October 20, 2017) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1953.ann > > DEADLINES APPROACHING: > Experiments in Cinema (Albuquerque, New Mexico USA; Deadline: November 01, > 2017) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1942.ann > Events are sorted alphabetically BY CITY within each DATE. > This week's programs (summary): > > Scope Presents: H. Schramm & N. Wiese / Patrick K.H. & A. Karaoulanis / Xname > #376 [October 21, Berlin, Germany] > Soc. Sci. 127 & Little Boy - Danny Lyon In Person [October 21, Cambridge, > Massachusetts] > Ism, Ism, Ism: Claudio Caldini In Person At Con+Tagion [October 21, Los > Angeles, California] > Media Archeology2 [October 21, San Francisco, California] > From the Files of Police Squad! [October 22, Brooklyn, NY] > Willie - Danny Lyon In Person [October 22, Cambridge, Massachusetts] > Claudio Caldini - 8mm Film Master - In Person! [October 22, Los Angeles, > California] > Boxing On Film: Part 2: Short Film Program [October 22, New York, NY] > Light Movement 25: Snow and Ice Data [October 23, Berlin, Germany] > Ism, Ism, Ism: Fantasmas CromáTicos: 8mm visions of Claudio Caldini [October > 23, Los Angeles, California] > Canyon Cinema + Cca Film Present: Women Take off [October 24, San Francisco, > California] > Visions | 25.10.17 + 26.10.17 | Robert Todd [October 25, Montréal] > Newfilmmakers [October 25, New York, NY] > Bravadoa: Terri Thomas and Scott Stark [October 27, Austin, TX] > Ec: George &Amp; Mike Kuchar [October 27, New York, NY] > Ec: George Landow, Aka Owen Land [October 28, New York, NY] > Portland Pixilation: Heit + Popp + Hough [October 28, San Francisco, > California] > Los NiÑOs Abandonados & Llanito [October 29, Cambridge, Massachusetts] > Ism, Ism, Ism: Dark Matter: Collective, Singular and Parodic Resistance > [October 29, Los Angeles, California] > Ec: Christopher Maclaine [October 29, New York, NY] > > SATURDAY, OCTOBER 21, 2017 > 10/21 > Berlin, Germany: Spektrum > http://spektrumberlin.de/program/events.html > 20:00, Bürknerstraße 12s > SCOPE PRESENTS: H. SCHRAMM & N. WIESE / PATRICK K.H. & A. KARAOULANIS / XNAME > #376 > AV performance night with: Heidrun Schramm & Nicolas Wiese - audiovisual > electroacoustic set premier performance of three new pieces: 1. Sightings > > Repercussions 2. International Scribblings 3. Pseudo_Code / Version 3.2 > Heidrun Schramm and Nicolas Wiese have been performing together since 2004, > mostly in either audiovisual or site-specific, installative formats. Patrick > K.H. & Andreas Karaoulanis Each performance of Vienna-based Patrick K.-H. > (aka Anton Iakhontov) and Berlin-based bestbefore (aka Andreas Karaoulanis) > isn’t easily characterised or deconstructed — their absurd digital / analogue > hybrid concoctions are built upon dada collage approach in graphic and sonic > art and a need to confound assumptions. They make live and studio animations > by sharing, combining, mutating, convolving, variating hints, sketches, > sequences and bits of each other’s material until their animated homunculus > is ready to go. xname - Live composition Her live compositions transform > light and other electromagnetic frequencies in sound waves through self built > synthesizers and complex semi chaotic machines. The result is an hypnotic > spectacle dominated by stroboscopy and industrial and noise-techno > frequencies. Installation-screening: Animation / video by Patrick K.-H. and > bestbefore 1) "Dbl Trbl" (music - diNMachine), 2016 2) "Maldek" (music - > Antonis Anissegos and Daniel Schröteler), 2017 3) "Piano Etude 1" (music - > Antonis Anissegos), 2015 4) "Piano Etude 2" (music - Antonis Anissegos), 2015 > 5) "Chaoskampf" (music - unu), 2014 > > 10/21 > Cambridge, Massachusetts: Harvard Film Archive > http://hcl.harvard.edu/hfa > 7pm, 24 Quincy Street > SOC. SCI. 127 & LITTLE BOY - DANNY LYON IN PERSON > Soc. Sci. 127 It is with the same tousled logic that occupies the tenuous > edges of the film itself that Danny Lyon describes Soc. Sci. 127, his first > motion picture, as a comedy. A less careful spectator might be quick to label > Bill Sanders, the Houston tattoo artist at the center of this brief, ecstatic > portrait, as more tragic clown than comic hero, but a sustained inspection > rewards us with a startling community between cameraman and performer. Shot > entirely within the confines of Sanders’ cramped, boudoir-like studio, the > film is a study in the intimacy of performance and of image-making: Polaroid > collages of past clients, many of them nude women alone or in pairs, cover > the walls; a woman seeking a consultation undresses proudly for Sanders and > camera; Sanders himself drinks, smokes, and snatches at a matted worldview > stitched together from haphazard opinions on everything from the telling > etymology of “fellatio” to his own motivations for making a documentary film. > Fluid elisions between sequences of color and monochrome, connected only by > the continuity of space, foreground the sense of depth of these rooms, and > the tendency of stories to entangle, the film presenting itself as a > collection of the loose ends of much longer narrative strands buried in the > backgrounds of the photographs or languishing on the cutting-room floor. And > throughout this patchwork wellspring of intimacy, performance, delusion and > discovery, Lyon manages to decentralize both subject and self: Sanders’ > lonely drunk qua artist-philosopher and his own burdensome cinema verité > auteur mantle, flattening the normal power relation on a bedrock of humility, > a kind of utopian stage where the two men can coexist in a resonant, if not > always straightforward, creative harmony. Directed by Danny Lyon US 1969, > digital video, color & b/w, 21 min Little Boy The Little Boy bomb dropped on > the people of Hiroshima was designed and tested in New Mexico, not far from > Bernalillo, a depressed, ramshackle town north of Albuquerque where Danny > Lyon constructed an adobe house for his family in the early 1970s. A > protracted interview airing a man’s wildest hopes and concerns about nuclear > energy, played out in double exposure with scenes of the nearby National > Atomic Museum––where a pair of tourists takes snapshots by a model warhead, a > crew of airmen attends to a taxiing bomber, an American flag ripples, and a > lanky, shock-blonde boy eats a bright red apple––form the core of a film with > the same name; but its flesh takes the form of another little boy, Willie > Jaramillo, a friend of Lyon’s who previously appeared in his 1971 film > Llanito. At age eighteen, he has just been released from prison for a series > of minor offenses. As Lyon pounds his beat around town, asking friends and > neighbors about Willie or about themselves, the film jumps back in time to > scenes from Willie’s childhood, now idyllic next to his current troubles, and > the history of one man’s life emerges as a fact of greater significance than > the atom bomb itself. Directed by Danny Lyon US 1977, digital video, color, > 54 min > > 10/21 > Los Angeles, California: Filmforum > http://www.lafilmforum.org/ > 4:00 pm, The Fanny Brice Theatre, SCA 110, George Lucas Building Lobby USC > School of Cinematic Arts Complex, 900 W. 34th Street > ISM, ISM, ISM: CLAUDIO CALDINI IN PERSON AT CON+TAGION > https://uscfirstforum17.wordpress.com/ In Person: Claudio Caldini Part of > First Forum, USC Cinema and Media Studies Graduate Conference, "Con+tagion", > Oct 20-21. Q&A Moderated by Professor David E. James. LA premieres! A major > force of Argentine and Latin American experimental cinema for 45 years, > Claudio Caldini was an active member of the "Cine Ex" group gathered at the > Goethe Institut Buenos Aires between 1974 and 1983 to promote production, > screening and lecturing on experimental film. Join us for his first visit to > Los Angeles! Caldini is a dedicated 8mm filmmaker, performance artists, > composer, and curator. He has mentored several generations of younger 8mm > filmmakers who have gained international prominence over the past decade, and > has collaborated with artists in many media. His small–gauge films are > remarkable for their sensuality, intimacy and precision. Caldini’s visit to > California is part of Los Angeles Filmforum’s screening series Ism, Ism, Ism: > Experimental Cinema in Latin America (Ismo, Ismo, Ismo: Cine Experimental en > América Latina) and was made possible by the Mike Kelley Foundation for the > Arts. > > 10/21 > San Francisco, California: Other Cinema > http://www.othercinema.com/ > 8:30PM, ATA Gallery 992 Valencia St. > MEDIA ARCHEOLOGY2 > OCT21: OC ARCHIVAL ANOMALIES Industrials amok! Here’s a jaw-dropping 16mm > compilation of our most time-warped titles--educational, informational, and > promotional films that together map out the real underside of 20C film > production. These preposterous shorts—at times excerpted to foreground their > sublimely ridiculous essence—come from that great mass of non-fiction films > produced for extra-theatrical audiences—schools, churches, corporate > groups—for the promulgation of certain ideas and products. Over these eight > decades, their retrograde ideologies and modes of address have become > increasing exposed, naked to the eye, like grotesque fossil skeletons in a > paleo-media boneyard. Curated by Craig Baldwin, this uncanny initiative mines > the most mind-melting filmic artifacts from OC’s 4000-plus, including Little > Oscar Meyer, sex-ed, bed-wetting, noise cults, religious ecstasies, car > fantasias, tech obsessions, ad absurdum. And beers for a buck! > > SUNDAY, OCTOBER 22, 2017 > 10/22 > Brooklyn, NY: Light Industry > http://www.lightindustry.org/ > 2pm-8pm, 155 Freeman Street > FROM THE FILES OF POLICE SQUAD! > Curated by Nellie Killian Hot off the blockbuster success of Airplane!, the > filmmaking trio of Jim Abrahams, David Zucker, and Jerry Zucker followed up > with the ABC television series Police Squad!, an anarchic spoof of 60s police > procedurals like M Squad and Dragnet that hit screens on March 4, 1982. With > Airplane!, the trio had found not only an audience, but an unlikely leading > man in Leslie Nielsen, whom they cast as Police Squad's protagonist, Lt. > Frank Drebin. Before Zucker-Abrahams-Zucker, Neilsen had primarily been known > as a minor dramatic actor, most famous for appearing in films like Forbidden > Planet, Tammy and the Bachelor, and The Poseidon Adventure, but had a > breakout turn in Airplane! as the absurdly literal-minded Dr. Rumack. With > Police Squad!, Nielsen proved the ideal vessel for ZAZ's humor, endowing the > lunatic goings-on with a serene obliviousness and tossed-off movie star > presence. For Nielsen, the role was a dream come true; he characterized > Drebin as "King Lear, Everyman, Rosencrantz, Guildenstern, and Mr. Potato > Head all rolled into one." > > 10/22 > Cambridge, Massachusetts: Harvard Film Archive > http://hcl.harvard.edu/hfa > 7pm, 24 Quincy Street > WILLIE - DANNY LYON IN PERSON > Lyon’s third film shot in Bernalillo, New Mexico and the final film with > Willie Jaramillo. More explicitly concerned with the fate of his friend here > than in either Little Boy or Llanito, Lyon enters the prisons and precincts > where Willie or his childhood friends have served time, observing and > interviewing him, his brothers, his fellow inmates, wardens, and anyone else > in his circle of acquaintance, as if there might be a clue somewhere to the > trouble that seems to endlessly and ruthlessly seek Willie out and take a > hold of his fate.Directed by Danny Lyon US 1985, 16mm, color & b/w, 82 min > > 10/22 > Los Angeles, California: Filmforum > http://www.lafilmforum.org/ > 7:30 pm, Echo Park Film Center, 1200 N. Alvarado St. > CLAUDIO CALDINI - 8MM FILM MASTER - IN PERSON! > In Person: Claudio Caldini A major force of Argentine and Latin American > experimental cinema for 45 years, Claudio Caldini was an active member of the > "Cine Ex" group gathered at the Goethe Institut Buenos Aires between 1974 and > 1983 to promote production, screening and lecturing on experimental film. > Join us for his first visit to Los Angeles! Caldini is a dedicated 8mm > filmmaker, performance artists, composer, and curator. He has mentored > several generations of younger 8mm filmmakers who have gained international > prominence over the past decade, and has collaborated with artists in many > media. His small–gauge films are remarkable for their sensuality, intimacy > and precision. Caldini’s visit to California is part of Los Angeles > Filmforum’s screening series Ism, Ism, Ism: Experimental Cinema in Latin > America (Ismo, Ismo, Ismo: Cine Experimental en América Latina) and was made > possible by the Mike Kelley Foundation for the Arts. $5 > general/seniors/students; free for Filmforum members. Available in advance > from Brown Paper Tickets at http://claudiocaldini.bpt.me or at the door. The > screening includes Film-Gaudí (1975, Super 8mm); Baltazar (1975, Super 8mm); > Cuarteto (1978, Super 8mm); Un enano en el jardín (1981, Super 8mm); S/T > (2015, Super 8mm); Ofrenda (1990, video), Heliografía (1993, video) > > 10/22 > New York, NY: Anthology Film Archives > http://www.anthologyfilmarchives.org/ > 5:00 PM, 32 Second Avenue > BOXING ON FILM: PART 2: SHORT FILM PROGRAM > Charles Dekeukeleire COMBAT DE BOXE (1927, 8 min, 35mm, b&w) For his very > first film, Dekeukeleire, one of the giants of Belgian cinema, staged a > boxing match in his studio. The result is a work of great graphic complexity, > a cinematic poem in which the boxers' movements are deconstructed into > rapidly edited fragments that alternate between positive and negative images. > Stanley Kubrick DAY OF THE FIGHT (1951, 13 min, 35mm, b&w. Preserved by the > Library of Congress.) Kubrick's film debut, which was based upon an earlier > photo feature he had done for Look Magazine in 1949, documents Irish-American > middleweight Walter Cartier during the height of his career, on the day of a > fight with black middleweight Bobby James. Bill Powers THE FIGHT GAME (1965, > 5 min, 16mm-to-digital, b&w) This intricately edited and exquisitely > photographed black and white short captures a young Jose Torres working out > with a bag in the gym. Praised by Jonas Mekas in the Village Voice, THE FIGHT > GAME is a graceful display of the balletic art that is boxing. Bill Powers > JOSE AND RAMONA TORRES WEDDING FILM (1961, 12 min, 16mm-to-digital. Special > thanks to Colorlab, The Center For Home Movies, and Russ Suniewick.) This > film was discovered during Anthology's 2006 Home Movie Day celebration. > Filmmaker Jeanne Liotta brought a reel found inside a projector she had > acquired many years ago from a neighbor. It contained spliced camera original > footage documenting the wedding party of a lovely young couple named Jose and > Ramona. One astute viewer, Craig Lopez, noted the names, googled them and > quickly deduced that this was the wedding film of boxing legend (and Norman > Mailer actor) Jose Torres! Richard Meltzer BOGUS BOXING TRASH: PART 1 (1969, > 36 min, 8mm-to-16mm. Preserved by the Film-Makers' Coop with support from the > National Film Preservation Foundation. World Premiere screening of the new > preservation!) "All the savage glory of the Olympics, including George > Foreman's now-famous flag ceremony; two females having at each other (we > don't approve of the fairer sex fighting but here it is in all its raw torrid > brutality); Sandy Saddler vs. Carlos Ortiz in a battle of ex-champs; George > Chuvalo's awesome knockout of Dante Cane; all-time mauler Sonny Liston KO'ing > Roger Rischer; Bob Foster's crushing KO of Biafran Dick Tiger; man vs. dog > (who will win?) and man vs. woman!" -Richard Meltzer Rachael Guma BAM! (2016, > 3 min, Super-8mm, b&w, silent. With Sean Nam.) A study in movement, this > rapidly edited Super-8 film deconstructs the dance of the shadow boxer. Total > running time: ca. 80 min. > > MONDAY, OCTOBER 23, 2017 > 10/23 > Berlin, Germany: Light Movement > http://light-movement.blogspot.de/ > 19:30, Spektrum, Bürknerstraße 12, 12047 Berlin > LIGHT MOVEMENT 25: SNOW AND ICE DATA > Joe Steele (PhD student at University of Colorado Boulder, Member AgX > Collective, MDes Harvard University ‘16) will present his current research > involving the National Snow and Ice Data Center (NSIDC) in Boulder and the > Map Library, Herbarium, and the special collections of CU Boulder’s library. > As part of beginning this research, Joe has programmed a group of > experimental and personal films called “Snow and Ice Data”that takes a more > reflexive tone toward thinking about the glacial and snow/ ice/ weather. This > will be presented at Spektrum in Berlin as part of LaborBerlin’s Film in the > Present Tense Colloquium in October 2017. The final form of this research > will be an exhibition emerging from the artist’s response to the collection > and the dialogues with archivists, scientists, and curators. Objects of most > interest are William O. Field’s photographs and fieldbooks of glaciers in > Alaska, aerial photography (which will be turned into shapes/ 3D models by > the artist), glass plate negatives from the late 19th century, 8mm films, and > prints and cabinet card photographs of glaciologists, workers, animals, and > glacial erratics. > > 10/23 > Los Angeles, California: Filmforum > http://www.lafilmforum.org/ > 8:30 pm, REDCAT, 631 W 2nd St., > ISM, ISM, ISM: FANTASMAS CROMáTICOS: 8MM VISIONS OF CLAUDIO CALDINI > In Person: Claudio Caldini A major force of Argentine and Latin American > experimental cinema for 45 years, Claudio Caldini was an active member of the > "Cine Ex" group gathered at the Goethe Institut Buenos Aires between 1974 and > 1983 to promote production, screening and lecturing on experimental film. > Join us for his first visit to Los Angeles! Caldini is a dedicated 8mm > filmmaker, performance artists, composer, and curator. He has mentored > several generations of younger 8mm filmmakers who have gained international > prominence over the past decade, and has collaborated with artists in many > media. His small–gauge films are remarkable for their sensuality, intimacy > and precision. The screening at REDCAT includes performances with multiple > super 8 projectors! Caldini’s visit to California is part of Los Angeles > Filmforum’s screening series Ism, Ism, Ism: Experimental Cinema in Latin > America (Ismo, Ismo, Ismo: Cine Experimental en América Latina) and was made > possible by the Mike Kelley Foundation for the Arts. Tickets: $12 general; $9 > for REDCAT members/students; $6 for CalArts students / Filmforum members. > Available in advance at https://web.ovationtix.com/trs/pr/978469 or at the > door. The screening includes Ventana (1975, Super 8mm); A través de las > ruinas (1982, Super 8mm); Lux Taal (2009, Super 8mm); Performance: H R Z N T, > Fantasmas Cromáticos, 4:3 Cine sin película > > TUESDAY, OCTOBER 24, 2017 > 10/24 > San Francisco, California: Canyon Cinema > http://www.canyoncinema.com > 7:30pm, 1111 8th Street > CANYON CINEMA + CCA FILM PRESENT: WOMEN TAKE OFF > This program is a collaboration between two curators, Tess Takahashi and > Denah Johnston, each of whom have wandered passionately and separately > through the Canyon collection, specifically considering work made by women. > Found footage, optical printing, documentary, dance, performance, repetition, > time-lapse and other approaches engage in dialogue about everything from > calling out patriarchy, representation of women in pop culture, and cosmic > strip tease. Bringing together an assortment of diverse talents from Canyon - > this program scratches the surface of the wealth of women's films distributed > by the 50-year old organization. We hope it will incite further investigation > of its holdings. This event is free and open to the public. All works > presented in 16mm unless otherwise specified. Part 1 (37 minutes) Women by > Coni Beeson (1974, 13 min, color/B&W) Grain Graphics by Dana Plays (1978, 6 > min, color, digital) Swish by Jean Sousa (1982, 3 min, color) Too Young by > Elizabeth Sher (1982, 3 min, color) Portland by Greta Snider (1996, 12 min, > B&W) Part 2 (32 minutes) Roseblood by Sharon Couzin (1974, 8 min, color) > Removed by Naomi Uman (1999, 6 min, color) Lie Back & Enjoy It by JoAnn Elam > (1982, 8 min, B&W) Take Off by Gunvor Nelson (1972, 10 min, B&W) > > WEDNESDAY, OCTOBER 25, 2017 > 10/25 > Montréal: VISIONS > http://www.visionsmtl.com/robert-todd1 > 20:00, la lumière collective [7080, rue Alexandra, #506, Montréal] > VISIONS | 25.10.17 + 26.10.17 | ROBERT TODD > 25.10.17 : I, HERE, NOW. ME, THERE, THEN [A Selection of Works by Robert > Todd] /// 26.10.17: FIGURE/GROUND [Programme by Robert Todd] /// 20h00 | 7$ > /// /// [Filmmaker Present | 16mm Projection] > > 10/25 > New York, NY: Anthology Film Archives > http://www.anthologyfilmarchives.org/ > 6:00 PM, 32 Second Avenue > NEWFILMMAKERS > For full program listings, visit www.newfilmmakers.com. > > FRIDAY, OCTOBER 27, 2017 > 10/27 > Austin, TX: Museum of Human Achievemenet > https://www.facebook.com/events/1794594224160034 > 7-9pm, Lyons and Springdale > BRAVADOA: TERRI THOMAS AND SCOTT STARK > FREE. Three complete cycles at 7, 7:45 and 8:30; participate in any or all > three. Each cycle includes a 10 min. video and 3 mins. of voluntary play, > engagement and/or observation. Bravadoa is a new collaboration between > artists Terri Thomas and Scott Stark to introduce a new form of intimacy. The > expanded cinema project posits notions of trust, vulnerability and > self-reflexivity within a symbolic playful, consensual, somatic sphere… the > Ouroboros. The Ouroboros, which depicts a serpent or dragon eating its own > tail, symbolizes the eternal return, introspection and the endless cycle of > creation and destruction, life and death. Viewers are invited onto a platform > to watch a 10-minute film. The film is inspired by Gabrielle Roth's 5 > Rhythyms: Flowing, Staccato, Chaos, Lyrical and Stillness. The transformation > begins with ambiguous figures practicing the feminine discipline of martial > arts, WING CHUN, which means "eternal spring" created by a Buddhist nun > through the observation of a fight between a snake and a crane. Gradually, > the two subjects strip themselves of their guises, while engaging in a > less-familiar form of personal contact, a masculine construction called > SLAP-BOX: a playful, improvised style of street boxing with open hands. Once > the film ends, spotlights come on from above, highlighting circles on the > floor, each just large enough for two people to stand facing each other. > Viewers suddenly find themselves on a mimetic stage, revealing an opportunity > for physical interaction or observation. Participants can relate with each > other using cues suggested in the film, mirroring elements from the 5 > movements, or inventing their own. Standing in the circle gives consent to > the other; stepping out ends the engagement. Each individual contributor > decides their own level of participation or withdrawal. > > 10/27 > New York, NY: Anthology Film Archives > http://www.anthologyfilmarchives.org/ > 7:30 PM, 32 Second Avenue > EC: GEORGE & MIKE KUCHAR > All films in this program have been preserved by Anthology with support from > the National Film Preservation Foundation. THE SLASHER (1958, 21 min, > 8mm-to-16mm) An insane, deformed killer stalks the grounds of a resort house, > bringing sudden violence to those of easy virtue and godlessness. PUSSY ON A > HOT TIN ROOF (1961, 14 min, 8mm-to-16mm) "It glows with the embers of desire! > It smokes with the revelation of men and women longing for robust temptations > that will make them sizzle into maturity with a furnace-blast of unrestrained > animalism. A film for young and old to enjoy." -George Kuchar NIGHT OF THE > BOMB (1962, 18 min, 8mm-to-16mm) Teenage lust and deranged delinquence > combine to create a cautionary tale for the ages. The Chernobyl of Comedy! > TOOTSIES IN AUTUMN (1963, 15 min, 8mm-to-16mm) A cautionary tale about > past-their-prime thespians caught up in a typically Kucharian vortex of > madness. Total running time: ca. 75 min. [THE SLASHER and NIGHT OF THE BOMB > are not part of the Essential Cinema collection, but are included here as a > special bonus.] > > SATURDAY, OCTOBER 28, 2017 > 10/28 > New York, NY: Anthology Film Archives > http://www.anthologyfilmarchives.org/ > 5:15 PM, 32 Second Avenue > EC: GEORGE LANDOW, AKA OWEN LAND > "The unique contribution of Land's work lies in the fusion of intellectual > reason and, significantly, the humor that distances it from the supposedly > 'boring' world of avant-garde film. Having explored the basic properties of > the celluloid strip itself in early works such as FILM IN WHICH THERE > APPEAR…, his attention turned to the spectator in a series of 'literal' > films that question the illusionary nature of cinema through the use of word > play and visual ambiguity. His work often parodies experimental film itself > by mimicking his contemporaries and mocking the solemn approach of film > theorists and scholars." -Mark Webber, TWO FILMS BY OWEN LAND FLEMING FALOON > (1963, 6 min, 16mm) FILM IN WHICH THERE APPEAR SPROCKET HOLES, EDGE > LETTERING, DIRT PARTICLES, ETC. (1965/66, 5 min, 16mm, silent) > DIPLOTERATOLOGY (1967/78, 7 min, 16mm, silent) THE FILM THAT RISES TO THE > SURFACE OF CLARIFIED BUTTER (1968, 9 min, 16mm, b&w) INSTITUTIONAL QUALITY > (1969, 5 min, 16mm) REMEDIAL READING COMPREHENSION (1970, 5 min, 16mm) WHAT'S > WRONG WITH THIS PICTURE? (1972, 13 min, 16mm) THANK YOU JESUS FOR THE ETERNAL > PRESENT (1973, 6 min, 16mm) A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY > CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, > 16mm) FILM IN WHICH…, INSTITUTIONAL QUALITY, and FILM OF THEIR 1973 SPRING > TOUR have been preserved by Anthology Film Archives through the National Film > Preservation Foundation's Avant-Garde Masters Grant program and The Film > Foundation. Funding provided by the George Lucas Family Foundation. Total > running time: ca. 70 min. > > 10/28 > San Francisco, California: Other Cinema > http://www.othercinema.com/ > 8:30PM, ATA, 992 Valencia Street > PORTLAND PIXILATION: HEIT + POPP + HOUGH > OC welcomes Oregon animation maven Laura Heit, with a “Best Of” selection of > single-frame work from her Portland hometown! A hands-on artist partial to > puppets, Heit offers an entrée into the DIY aesthetic of the Pacific > Northwest, where the art-form has always flourished. And so to her Rover’s > Eye (Mars imaging!), Apollo Six (cut-outs of the failed flight), Two Ways > Down (fall into underworld), and Deep Dark (song-cycle of projected shadows). > PLUS Ben Popp’s Coastal Observations (shoreline flipbook), Juxtaposition > (sensual foray from S8mm), HearNW (rhythmic synesthesia), and East Lake San > Souci (Super16mm in the track area). Thirdly, Kurtis Hough honors us with his > Cryosphere (tears against global warming), Painted Hills (the geometry of > geology), To See More Light (elemental/cosmic), and Some Trees (poetic > short). BONUS: 16mm ‘toons for trick ‘r treat goblin gobblin’! > > SUNDAY, OCTOBER 29, 2017 > 10/29 > Cambridge, Massachusetts: Harvard Film Archive > http://hcl.harvard.edu/hfa > 7pm, 24 Quincy Street > LOS NIÑOS ABANDONADOS & LLANITO > Los niños abandonados In 1974 Danny Lyon traveled to Colombia and made an > unblinking yet lyrical film dedicated to the surging population of homeless > children living on the streets, abandoned by family and ignored by Church and > State alike. Guided by his deft photographer’s eye, Lyon captures the stark > paradoxes of an adult society that sidesteps the forgotten children who > embody precisely that poverty and desolation that the adults deny and fear > most. Brutally thrust into an uncaring world and prematurely aged into a > stunted adulthood, los niños abandonados are refugees of the shattered myth > and lie of the State as a nurturing family. Directed by Danny Lyon Colombia > 1975, 16mm, color, 63 min Llanito Llanito is the first of Lyon’s trio of > films shot in and around Bernalillo, New Mexico, and it is also the screen > debut of Willie Jaramillo. The twelve-year-old boy acts as a guiding force > for Lyon and his audience, reading out the names on gravestones and relating > the stories of the people buried there. He is the focal point of a group of > mostly young men with whom Lyon would remain friends and continue to document > for the next several decades. The film meanders through the town and among > its inhabitants, passing between groups of people at times with the keen > instinct of a desert eagle and at others in a drunken stupor, stumbling from > one scene into the next with the visceral and irrational inevitability of a > gravitational pull. Directed by Danny Lyon US 1971, digital video, b/w, 54 min > > 10/29 > Los Angeles, California: Filmforum > http://www.lafilmforum.org/ > 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. > ISM, ISM, ISM: DARK MATTER: COLLECTIVE, SINGULAR AND PARODIC RESISTANCE > Filmmaker Bruno Varela in person! INFO: www.lafilmforum.org, 323-377-7238 > Created during and between military coups, civil wars, diverse authoritarian > regimes, and invasions led by the United States, experimental cinema in Latin > America has not escaped the impact diverse forms of social upheavals and > violence. In many of these contexts, resistance, even social commentary, can > be a precarious, even dangerous, project, and tonight’s program surveys some > of these expressions. In the war-torn El Salvador of 1980, the collective > “Los Vagos” shot documentaries and one fiction film, Zona intertidal, a > poetic treatment of the politically motivated assassination of a leftist > professor by death squads. In 2014, in the town of Iguala, in Southern > Mexico, 43 students from a rural teachers’ college were detained by the > military and handed over to a local criminal organization. Forensic > specialists have only been able to identify the remains of two of the > students among the numerous mass graves excavated during the ensuing search > for clues to their disappearance, a process which Bruno Varela comments upon > in Materia Oscura (2016). Zigmunt Cedinsky takes a satirical approach in La > Guerra sin fin (I’m very Happy) (2006), while the Colombian filmmaker Camilo > Restrepo’s Impresión de una Guerra (2015) visits textile factories, tattoo > parlors, print shops, and punk rock concerts to offer up an essayistic > reflection on the lasting legacies of decades on his homeland. Tickets: $10 > general; $6 for students/seniors; free for Filmforum members. Available in > advance from Brown Paper Tickets at http://bpt.me/3103989 or at the door. > > 10/29 > New York, NY: Anthology Film Archives > http://www.anthologyfilmarchives.org/ > 4:45 PM, 32 Second Avenue > EC: CHRISTOPHER MACLAINE > "The few facts that are known about Maclaine are, at best, sketchy. He was a > published poet, a sort of down and out San Francisco bohemian who later > became one of the psychic casualties of that scene. His last years were spent > at Sunnyacres, a state mental hospital in Fairfield, California. These films, > along with Ron Rice's, are clearly the most significant work to come out of > the beat period." -J.J. Murphy All films preserved by Anthology Film > Archives. THE MAN WHO INVENTED GOLD (1957, 14 min, 16mm) BEAT (1958, 6 min, > 16mm) SCOTCH HOP (1959, 5.5 min, 16mm) THE END (1953, 35 min, 16mm) Total > running time: ca. 65 min. [THE MAN WHO INVENTED GOLD, BEAT, and SCOTCH HOP > are not part of the Essential Cinema collection, but they are included here > as a special bonus.] > > Let us know about your alternative film/video event! > > Enter your event announcements by going to the Flicker Weekly Listing Form. > > > To receive the weekly listing via email, send a message to Subscribe. To > unsubscribe see the link at the bottom of this email. > > > > > > > > > > > This email was sent to frameworks@jonasmekasfilms.com > why did I get this? unsubscribe from this list update subscription > preferences > Flicker · nowhere · San Francisco, CA 94110 · USA > > > > > > From: Esperanza Collado <esperanzacolla...@gmail.com> > Subject: [Frameworks] Editing neg? > Date: October 22, 2017 6:46:30 AM EDT > To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> > > > Dear Workers of the Frame, > > I have a negative and I want to create a print from it, organizing the > different sequences that I shot in a different order. What's the exact > procedure I should follow? Should I cut the negative and splice it together > in the new manner I want the final print to be, then send that to the lab? (I > need no disolves nor superimpossitions, just one shot after another in the > simplest way). If I don't want to cut the negative, I presume I should use > the numbers that appear on the side of the filmstrip to give instructions to > lab, but I'm not sure if that is so precise. I've never done this before, and > the guy from the lab wasn't very helpful. So if any of you could explain the > procedure to detail, I would be enormously grateful. Also, I'd love to hear > about books on the subject. > > Thanks very much, > > Esperanza Collado > - - - - - - - - - - - - - - > www.esperanzacollado.net > > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks
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