Re: [Frameworks] suggestions for artists who work with medical found footage or especially patient-artists who use their own imaging

[Adam Hyman]

Barbara Hammer’s “Sanctus” is a pretty great example.

 

From: Frameworks  on behalf of Kate 
Dollenmayer 
Reply-To: Experimental Film Discussion List 
Date: Monday, July 29, 2024 at 3:38 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] suggestions for artists who work with medical found 
footage or especially patient-artists who use their own imaging

 

I made this video, with music by Chris Cohen, using an MRI of my own knee, and 
also snowflake photographs by Wilson Alwyn Bentley (1865-1931). It played in 
the Ann Arbor Film Festival in 2013. 

 

Monad: https://www.youtube.com/watch?v=TaVxcsIrCiE

 

On Mon, Jul 29, 2024 at 3:15 PM Christopher Ball  wrote:

Incredible!

 

Christopher

 

On Mon, Jul 29, 2024 at 3:00 PM Amanda Dawn Christie 
 wrote:

Hi Andrea and anyone else interested in medical imaging work,

 

 

I’m currently working on a new project using my own medical imaging. 

 

I'm working with MRI scans of my brain, ultrasounds of a tumour in breast and 
polyps in my uterus, echocardiogram images and video of my heart pumping, 
x-rays of my jaw, teeth, chest, and ankle. 

I am combining these images with radio telescope images of distant planets and 
other cosmic bodies. 

 

I have built the prototype of a device that will do the image manipulations 
using my brain waves via an open source DIY EEG kit and Arduino, along with 
other sensors manipulating aspects of the images with data from my heart-rate, 
respiration, and galvanic skin response. 

 

The project is still in the early phase… I’m supposed to deliver (to have 
already delivered) two images and a short video for an online exhibition … uh… 
a few months ago (I’m running late, but hope to get those done soon… I’m just 
refining my image libraries and fine tuning some of the parameters and mapping 
in pure data.

 

 

Kindly, 

 

Amanda

 

 



On Jul 28, 2024, at 8:39 PM, Schuster, Andrea  wrote:

 

 

Andrea Schuster, MFA

PhD Student, Department of Cinematic Arts 

University of Iowa, W233 AJB 

andrea-schus...@uiowa.edu

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Re: [Frameworks] Festivals for feature films?

[Adam Hyman]

Hi,

How experimental is the film?  Might it be considered an experimental 
documentary?  If the latter, it adds possibilities.

What country are you in?

 

Start with

Ann Arbor Film Fest

Crossroads – SF Cinematheque

Cosmic Rays Film Festival

IMAGES Fest

Rotterdam

NY Film Festival has an experimental sidebar

TIFF has an experimental sidebar

 

True-False Film Festival

 

There are more.

 

Best regards,

 

Adam

 

From: Frameworks  on behalf of Laura Ivins 

Reply-To: Experimental Film Discussion List 
Date: Monday, June 17, 2024 at 6:39 AM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] Festivals for feature films?

 

Appreciate this suggestion, Eric. I'll definitely check out expcinema.org. 

 

Thanks!

Laura

 

On Sun, Jun 16, 2024 at 2:57 PM Eric Theise  wrote:

Hi all,

 

My understanding about Scott's hi-beam.net site is that its day-to-day 
operations have been taken over by Anna Kipervaser, with, maybe, help from 
others.

 

Laura, I suggest you also look at expcinema.org.

 

I always post about my shows to hi-beam/"This Week" but I find Marcos Ortega's 
expcinema.org to be the better platform. There's greater participation from 
non-US venues. Images can be associated with screenings, festivals, books, 
whatever, and all of these things can be edited after submission. If one adds a 
new venue for a screening the system retains it for future use (hi-beam never 
retains cities or venues that aren't already in the database). Daily updates go 
out via email and social media (e.g., https://www.instagram.com/expcinema/ or 
https://twitter.com/expcinema) as opposed to the uncertain weekly schedule of 
"This Week". Venues and festivals can be searched or scrolled through 
alphabetically or geographically using a map. It's even possible to link events 
to one another so one could trace back through the entire chain of, for 
example, my dozens of "A Synesthete's Atlas" performances. expcinema.org has 
been indispensable to me in tour planning overseas.

 

Neither expcinema.org nor hi-beam.net are perfect and one might say "let a 
thousand experimental film directories bloom". It takes time and/or money to 
host servers, to program new features or squash bugs, and to upload and 
moderate content. and with a small number of volunteers–we're not talking 
FilmFreeway here–it sometimes seems too bad that there are even two.

 

Eric

 

 

On Sun, Jun 16, 2024 at 11:03 AM Gilbert Guerrero 
 wrote:

Of course, open calls will be the most up to date, as they are posted by the 
festivals themselves: 

 

http://www.hi-beam.net/cgi-bin/ann.pl?readanns=yes&type=calls

 

 

 

On Jun 16, 2024, at 10:54 AM, Gilbert Guerrero 
 wrote:

Scott Stark maintains a pretty comprehensive list, including Experimental 
Friendly Festivals: 

 

http://www.hi-beam.net/links.html#Alternative%20CinemaShowcases

 

Though I’d say go on tour and hit the Microcinema circuit: 

 

http://www.hi-beam.net/org/showindex.html

 

If you make it out West, let us know at Shapeshifters! We love expanded/live 
cinema in particular! ;) https://shapeshifterscinema.com/

 

Cheers,

Gilbert 

 

. . .

 

Gilbert Guerrero, Director of Operations & Brewing 

gilb...@shapeshifterscinema.com

---

Shapeshifters Cinema

567 5th Street, Oakland, CA 94607

http://shapeshifterscinema.com




On Jun 16, 2024, at 9:05 AM, Laura Ivins  wrote:



Hello!

 

I'm emailing to see if experimental filmmakers on the list have festival 
recommendations.

I've just completed a non-narrative, experimental feature (60 min) that I'll 
begin submitting to festivals next month. Is there a festival you've screened 
at or attended that shows experimental features and was a good festival 
experience? I've only ever submitted short films before and would love 
recommendations!

 

Thank you,

Laura

 

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https://dualprojection.wordpress.com/

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Re: [Frameworks] Jordan Cronk contact?

[Adam Hyman]

Hi Elena,

Sure.  I’ll send off list.


A

 

From: Frameworks  on behalf of Elena Duque 

Reply-To: Experimental Film Discussion List 
Date: Monday, May 27, 2024 at 9:33 AM
To: Experimental Film Discussion List 
Subject: [Frameworks] Jordan Cronk contact?

 

Dear Frameworkers

 

I am reaching out to you this time to ask you if any of you has Jordan Cronk's 
contact. Thank you very much in advance!

 

Best wishes, 
 

-- 

Elena Duque Viña
Telf: (+34) 605431072 
http://cargocollective.com/elenaduque

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Re: [Frameworks] Other books

[Adam Hyman]

Hi Dominic,
Thanks.  Busy work day; I'll get to it later tonight or soon. 

Best,
Adam

On 2/20/24, 11:43 AM, "Frameworks on behalf of Dominic Angerame" 
mailto:frameworks-boun...@film-gallery.org> on behalf of 
dominic.anger...@gmail.com > wrote:


I also have other rare books listed on ebay if interested. Frameworkers, or 
course, can get a discounted price. Here is a link to my sellers page.


Thanks


Dominic


https://www.ebay.com/sch/i.html?item=325314355725&rt=nc&_trksid=p4429486.m3561.l161211&_ssn=dominic3456
 

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[Frameworks] Phill Niblock works?

[Adam Hyman]

Following the recent passing of Phill Niblock, R.I.P., does anyone know who to 
contact about screening any of his films?

We had a lovely screening with him in January 2016.

 

Best regards,

 

Adam Hyman

Los Angeles Filmforum 

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Re: [Frameworks] Art gallery venues that host experimental film series screenings

[Adam Hyman]

Long-lasting regular screenings in a gallery space in Los Angeles:

 

Clara Grossman’s American Contemporary Gallery in Hollywood 

See David E. James, the Most Typical Avant-Garde: History and Geography of 
Minor Cinemas in Los Angeles, pp. 216-217

Kenneth Anger & Curtis Harrington were regular attendees, I believe

 

Also, Aarnun Gallery in Pasadena hosted Pasadena Filmforum, 1979-1980, but that 
was more letting Terry Cannon host the screenings in the back part of the 
space, rather than anything curated by the people who ran the gallery.

 

Best regards,

 

Adam Hyman

 

On 1/17/24, 4:05 PM, "Frameworks on behalf of Joel Schlemowitz" 
 
wrote:

 

A question in connection with a writing project:

 

I'm interested in the presence of experimental film in art galleries - 
specifically, the hosting of experimental film screenings on a regular basis. 
An example would be the Monday night screenings at Microscope Gallery in New 
York. The Robert Beck Memorial Cinema was hosted by Collective:Unconscious, and 
later by the art gallery Participant Inc.

 

Are there other art galleries that host experimental film series screenings, 
either currently or historical examples? Places that show fine art by day and 
film by night. And ideally, examples of a longstanding commitment to hosting a 
screening series, rather than a one-off event now and then.

 

Much appreciate your responses!

 

Cheers,

Joel Schlemowitz

 

 

~~
https://www.joelschlemowitz.com

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Re: [Frameworks] Jane

[Adam Hyman]

She was a delightful human being.

 

Here’s a NY Times obit.

 https://www.nytimes.com/2023/12/07/books/jane-wodening-dead.html

We hosted her in March 2020.

Here is the video from the event

https://www.youtube.com/watch?v=P844IAg8rUM&t=27s

 

Best regards,

Adam

 

 

-- 

Adam Hyman

Los Angeles Filmforum

a...@lafilmforum.org

http://www.lafilmforum.org

 

 

On 12/10/23, 6:36 AM, "Frameworks on behalf of Dominic Angerame" 
 
wrote:

 

Marilyn Brakhage had told me this last week, but I was remiss in reporting it 
here. Thought it was already posted and I had missed it. I had the pleasure of 
meeting her a few times…..

 

D



On Dec 9, 2023, at 9:47 PM, Pip Chodorov  wrote:

 

I’m sad to read that Jane Wodening has died.

 

 

<06wodening-01-pvqj-facebookJumbo.png>
Jane Wodening, Experimental Film Star and Intrepid Writer, Dies at 87 (Gift 
Article)nytimes.com
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Re: [Frameworks] PXL THIS 33 / 11/14/2023 7pm pst LIVE online

[Adam Hyman]

Hi Gerry,

This email says Sunday Nov 14, but Nov 14 is a Tuesday.  Sunday is Nov 12.  
What is correct?

 

Best,

Adam

 

On 11/7/23, 11:30 AM, "Frameworks on behalf of Will Erokan" 
 wrote:

 

SUN Nov14, 2023 7pm pacific time - LIVE online

PXL THIS 33 Toy Camera Film Festival 2023 
https://www.facebook.com/events/850945209382236/

Just enter "PXL THIS 33" on Youtube to tune in, and afterwards view anytime. 

 

PXL THIS 33 PROGRAM

Intro - Gerry Fialka & Bruno Straus

When the Cow Got Out - Joseph Paulson

Chip Yips - Suzy Williams

Moon Curtain - Amanda Samimi

Doing Time With Tehching Hsieh - Joseph, Lee & Val Paulson

Hello Up There - Alex Miller

Can You Believe That? - Ron Grun

I Climbed The Cascades - Jennie Williams

Cali - Gerry Fialka

Finnegans Wake Promo - Roman Tsivkin

Can't Fool Computers - Eric Ahlberg

Free Will - Duncan Echelson 

The Owl & The Pussycat - Catherine Allison

The Wren – Roy Benjamin

The Recording Hello Device - Nile Southern & BING

You’ve Just Been Blackballed - Anthony Blackball

Breath - Lior Tzemch

Missing Green - Joey Huertas

Ricky - Fuji Yamamama

Film Making Itself - Gerry Fialka

Decadent Acts of Nothingness - Patrick Gill 

Stream of Subconsciousness - Joe Nucci

Dissolving Sounds - Patrick Gill

PXL Pie – Gerry Fialka & Bruno Straus

Documentary – B. Meade

(program subject to change)

Just enter "PXL THIS 33" on Youtube to tune in, and afterwards view anytime. 



The PXL-2000 (Pixelvision) is a toy camera, manufactured by Fisher-Price from 
1987-89, that records on quarter-inch audio cassette tape. The low resolution 
and high contrast was made for kids, and became an art tool. Today Pixelators 
are merging Pixelvision with cell phones and live streaming. Electronic Folk 
Art, Lo-Fi Hi-Jinx ! PXL THIS 33 celebrates visionary moving image artists from 
seminal experimental filmmakers to children to homeless to professionals. 

SizzleReel: https://www.youtube.com/watch?v=_03oq4cMu5M&t=9s

Contact:  https://en.wikipedia.org/wiki/Gerry_Fialka

Special thanks to PXL THIS Film Festival co-director Bruno Straus 
https://www.youtube.com/watch?v=_lYixmuJyjI&t=9s

PXL THIS 34 - Entry deadline Oct 22, 2024 - pfs...@aol.com NO entry fee 

Thanks: Mike Sakamoto https://gerryswake.com/ & https://www.youtube.com/@gfa1930

David Seubert 
https://www.library.ucsb.edu/special-collections/gerry-fialka-pxl-and-fialka-interview-archive-pa-mss-245

"PXL is the ultimate people's video." - J. Hoberman, Premiere Magazine. 
Pixelvision has screened in recent years at Lincoln Center in New York, and at 
LACMA's 3D exhibit in Los Angeles. What's new? It isn't out yet. Gerry Fialka's 
book Strange Questions: Experimental Film as Conversation: 
https://laughtears.com/strange-questions.html

Compelling interviews with notables in avant-garde cinema offer insights into 
moving image art--its creative processes, formative influences, and hidden 
psychic effects. Through interviews with George Manupelli, Larry Gottheim, 
Chick Strand, Tom Gunning, Lynne Sachs, Jay Rosenblatt, Martha Colburn, Evan 
Meaney, Mike Hoolboom, Robert Nelson, and Nina Menkes, Strange Questions links 
powerful personal stories with the contemporary media-scape.

 

PXL THIS NEWS=

PXL THIS participants are all over the place:

Joseph (Jay) Paulson appears in Martin Scorsese's "Killers of the Flower Moon".

Roy Benjamin released a new book “Beating the Bounds: Excess and Restraint in 
Joyce's Later Works”

Nile Southern is working on a documentary on his Dad Terry Southern.

Bruno Straus and Nicole Zwiren just released a new Natural Born documentary 
MATERNAL INTUITION

Patrick Gill is the main PXL Camera repair person http://www.bentstruments.com/

- http://www.bentstruments.com/

PATRICK can now adapt your PXL cam with DVR hook-up.

 

Please tell us about your news updates, keep us updated, THANK YOU

…and past PXL THIS participants:

Josh Freese played drums on Saturday Night Live with the Foo Fighters on 
10-28-23.

Sunny War appeared on Jimmy Kimmel on 3-14-23.

 

PXL to CELL: Bravo to Brett for this help in adapting the PXL2000 camcorder to 
your cell phone: Brett Neese, brett@neese.rocks, contributes this method of 
shooting Pixelvision with an Android smartphone. Note that this method has only 
been tested using a Google Pixel XL (1) and will probably not work with an 
iPhone/iOS device. Google Pixel (1) can be found on Amazon here.

· - The hardest part is first: the camera itself needs to be modified to 
support composite video out, as the existing hardware only supports modulated 
RF video (essentially, it pretends to be an analog antenna TV channel.) Patrick 
Gill, the PXL camera repairman can modify - patrickg0...@yahoo.com & 
http://www.bentstruments.com/. There is also a very old DIY guide here.
· - Then, use a video capture card to process the incoming video and an app on 
your phone to interface with the capture card and record the video. We have had 
some success with this one.
· - That video 

Re: [Frameworks] VISIONS: Brigid McCaffrey

[Adam Hyman]

Any chance you could include the address, city, website for more info, please?Sent from my iPhoneOn Oct 13, 2023, at 8:15 AM, VISIONS  wrote:VISIONS Thu, 28 Sept, 13:19to frameworksVISIONS, in collaboration with cELLEuloid, presents a double programme with Brigid McCaffrey on October 18th at la lumière collective!35mm, 16mm & digital projection | artist in attendance | @ la lumière collectiveDoors:18h3019H00 | The films of BRIGID MCCAFFREY21H00 | HOUSEKEEPINGA programme of shorts curated byBRIGID MCCAFFREY[With films by : Lee Anne Schmitt, Julie Murray, John Smith, Kenneth Anger, Betzy Bromberg, Alexandra Cuesta]
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[Frameworks] Bérénice Reynaud has left us

[Adam Hyman]

Bérénice Reynaud,  professor, curator, scholar, Los Angeles Filmforum board 
member for over 20 years, passed away early on September 17, 2023 after a 
multi-year battle with cancer.

 

We know that many of you knew Bérénice personally, that you are her students, 
friends, colleagues, and her audience. It is difficult to synthesize the 
tremendous scope of Bérénice’s contributions to cinema. She was a champion of 
filmmakers in all stages of their careers and from countries around the world, 
a passionate advocate for her students, a sharp, incisive voice during 
discussions, a dedicated scholar, and the most committed presence at screenings 
throughout Southern California.  She had written and curated since the 1970s, 
previously working, among many roles, as a correspondent for Cahiers du Cinema, 
a regular contributor to Senses of Cinema, and currently as a Professor at 
CalArts and Curator of Film/Video at REDCAT. 

 

As Abigail Severance wrote for a GoFundMe campaign early in Bérénice’s fight 
against lymphoma from 2017: “IF YOU KNOW BÉRÉNICE, YOU KNOW A UNICORN. She is 
fiercely intelligent, loving and dedicated. She’s also a fighter, most often as 
an advocate for the filmmakers, students, activists and rebels that make up her 
global family. Born and raised in France, Bérénice has lived, studied, taught 
and curated in New York and Los Angeles, been faculty at the CalArts School of 
Film/Video for over two decades, and traveled extensively in the U.S., Europe 
and Asia in service of her vision for a radical independent cinema. She is a 
force of nature and a treasure to our communities.”  
(https://www.gofundme.com/f/forberenice )

 

Bérénice Reynaud was a remarkable, vital, strong-willed, stubborn, brilliant 
and thoroughly alive woman who touched the lives of thousands of students and 
filmmakers. Her loss is a profound one for the entire independent film world.  
We’ll miss her deeply.

 

Memorials to be announced at a later date at Cal Arts and elsewhere.

 

Her bio (slightly edited) from Cal Arts:

 
https://filmvideo.calarts.edu/programs/film-and-video/program-faculty/b233r233nice-reynaud

Born and raised in France, Bérénice Reynaud studied philosophy at Paris 
I-Sorbonne, Cinema Studies at New York University and was a Helena Rubenstein 
fellow at the Whitney Museum Independent Studies Program. Meanwhile she was 
curating radio programs of New American Music for Radio France and writing 
articles for the French film monthly Cahiers du cinéma – and was a member of 
Aprés-Coup, a New York-based group of scholars and psychoanalysts led by 
Lacanian psychoanalyst Paula Mieli. In the late 1980s, she developed an 
interest in Chinese cinema and is a pioneer of the introduction of Chinese 
video art and video documentary in both the United States and France.

 

As a critic, her main areas of expertise have been American 
independent/experimental film/video; films and video by women; Chinese cinema 
and video; African cinema; gender and feminist film theory. She was a regular 
collaborator of Cahiers du cinéma (France) from the mid-1980s to the mid-90s, 
and was a regular contributor of Senses of Cinema (www,sensesofcinema.com) 
(Australia). She has published essays in Sight & Sound, Screen (UK); Film 
Comment, Afterimage, The Independent (USA); Le Monde diplomatique, Libération, 
CinémAction (France); Meteor, Springerin (Austria); Nosferatu (Spain) and 
Cinemaya, the Asian Film Quarterly (India), among others - as well as in a 
number of scholarly publications, encyclopedias and catalogue articles in the 
US, the UK, France, Austria and Italy. She is the author of Nouvelles Chines, 
nouveaux cinemas (Paris: Cahiers du cinéma, 1999) and Hou Hsiao-hsien's "A City 
of Sadness" (London: BFI, 2002, and has co-edited a collection of texts on 
feminist film criticism, Vingt ans de théories féministes sur le cinéma - 
Grande-Bretagne et États-Unis (Paris: CinemAction, 1993).

 

As a curator, she has organized film and video exhibitions for Artists Space, 
The Collective for Living Cinema, the Museum of Modern Art and the Museum of 
Moving Image (New York); the UCLA Film & Television Archives (Los Angeles); The 
Cinémathèque française, The Festival d'Automne and the Galerie Nationale du Jeu 
de Paume (Paris). Since the opening of REDCAT in November 2003, Reynaud shared 
curatorial responsibilities for the Jack Skirball Film/Video screening series 
with former School of Film/Video Dean Steve Anker. She was a correspondent for 
the San Sebastian International Film Festival (Spain: 
www.sansebastianfestival.com) since 1993 and the Viennale (Austria/Europe: 
www.viennale.at) since 2000, as well as Curatorial Adviser and member of the 
Programming Committee for the China Onscreen Biennial since 2014.   She 
organized a program of Chinese cinema the Kerala International Film Festival 
(India: http://iffk.in/) in 2015. She was one of the main organizers of 
“Against Oblivion,” the Chantal Akerman retrospect

Re: [Frameworks] Kenneth Anger

[Adam Hyman]

LA Times:

https://www.latimes.com/entertainment-arts/movies/story/2023-05-24/kenneth-anger-dies

 

NY Times:

https://www.nytimes.com/2023/05/24/movies/kenneth-anger-dead.html?searchResultPosition=1

 

IndieWire:

https://www.indiewire.com/features/general/kenneth-anger-dead-1234682825/

 

Hollywood reporter:

https://www.hollywoodreporter.com/movies/movie-news/kenneth-anger-dead-experimental-filmmaker-1235499653/

 

On 5/24/23, 9:29 AM, "Frameworks on behalf of Pip Chodorov" 
 wrote:

 

Sad news...

 

Kenneth Anger, Experimental Filmmaker and ‘Hollywood Babylon’ Author, Dies at 
96variety.com
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[Frameworks] Michael Snow R.I.P.

[Adam Hyman]

has passed away, age 94.

https://artlyst.com/news/michael-snow-canadian-sculptor-and-experimental-filmmaker-dies-aged-94/

 

https://www.artnews.com/art-news/news/michael-snow-dead-1234652859/

 

 

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[Frameworks] US premiere of the films of Juan Sebastián Bollaín!

[Adam Hyman]

Of interest to all, and online so accessible to all…

 

On 6/2/22, 9:41 AM, "LA Filmforum"  wrote:

 

View this email in your browser 
 

Juan Sebastián Bollaín:
A Most Wanted Idea of Utopia
Two programs of works
never seen in the US!
Online June 4-19
 

Los Angeles Filmforum presents
Juan Sebastián Bollaín: A Most Wanted Idea of Utopia
Two programs of works never seen in the US
Online June 4-19
Live Conversation with guest curator Elena Duque on Sunday June 12, 1 pm 
Pacific Time
 
U.S. premieres!  Newly subtitled films!
Curated by Elena Duque.  Introductory prerecorded videos with Juan Sebastián 
Bollaín!
 
Ticketing for Juan Sebastián Bollaín: A Most Wanted Idea of Utopia, program 1
Sliding Scale, requested $12 for general admission, $8 students/seniors, $0 for 
Filmforum members, here
Includes admission to program 2 as well!
 
Ticketing for Juan Sebastián Bollaín: A Most Wanted Idea of Utopia, program 2
Sliding Scale, requested $12 for general admission, $8 students/seniors, $0 for 
Filmforum members, here

 Register in advance for the conversation with Elena Duque on June 12 here:
After registering, you will receive a confirmation email containing information 
about joining the meeting.
 
JUAN SEBASTIÁN BOLLAÍN. A MOST WANTED IDEA OF UTOPIA
By Elena Duque
Self-taught filmmaker and architect, Juan Sebastián Bollaín has been making 
films since the 60s, mixing his two study disciplines along the years in a 
series of films that reinvent the urbanism of the most traditional and 
religious city in Spain: Seville, Andalusia, the heart of the Spanish clichés, 
Holy Week and flamenco. Using super 8 and various tricks and montage 
strategies, he made at the end of the 70's a series of imaginative visions of 
the city, delirious utopias full of sense of humor, surrealist and poignant 
images and lucid ideas that shake the core of the ideas about the city. A cult 
figure of Spanish Cinema whose work has been recently digitized and restored, a 
most wanted idea of utopia in these dystopian and strange times.
 
Born in Madrid in 1945, and a Sevillan citizen from a very early age, Juan 
Sebastián Bollaín is a filmmaker, architect and urban planner. He has also 
worked as a teacher and book editor. All these professions revolve around his 
interest in architecture and his idea of a better way of inhabiting the city. 
He began making films at 14 years old, and he directed several amateur fictions 
and documentaries. In the late 70s he made some of his most important films: 
the essay film La Alameda ‘78, a commission from the Architecture School in 
Seville, the futurist fiction C.A.7.9., under the auspices of Cádiz 
Architecture School, and his tetralogy “Dreaming of Sevilla”, four humourous 
and delirious super 8 pieces on an utopian Seville that were part of a big 
project that also included a written research. Besides making these kinds of 
works, he has written and directed several feature length fiction films, tv 
series and commissioned documentaries, while continuing his work as an 
architect designing buildings and making urban plannings. He lives and works in 
Seville.
 
Notes by guest curator Elena Duque. 
Special thanks to Ramón Benítez, Filmoteca de Andalucía, Junta de Andalucía; 
Kate Brown, Marta Fernández Gómez, Rocío Mesa, and L.A. OLA
 
For more information: www.lafilmforum.org or 323-377-7238.
 

SEVILLA 2030 (Juan Sebastián Bollaín, 2003, 28 min.) US Premiere!

 

Screening:

PROGRAM 1- SEVILLE, THE BEST PLACE TO LIVE
In this first program, we will see four films devoted to imagining a brave new 
crazy and marvellous city, guided by hedonism and a peculiar sense of 
community. The best place to live in the world.
 
TETRALOGY “DREAMING OF SEVILLE”
Composed of the films:
Sevilla tuvo que ser (Juan Sebastián Bollaín, 1979, 10 min.)
Sevilla en tres niveles (Juan Sebastián Bollaín, 1979, 9 min.)
Sevilla rota (Juan Sebastián Bollaín, 1979, 12 min.)
La ciudad en el recuerdo (Juan Sebastián Bollaín, 1979, 14 min.)
This foundational tetralogy shot in super 8 depicts a delirious and amazing 
Sevilla, in a subversive response to the living conditions in the city at the 
end of the 70s. Using various styles, such as mockumentary, avant garde and 
surrealist fiction and also more impressionistic visions, a compendium of what 
the city is and could be. Sevilla tuvo que ser is a “found” reportage of the 
American television telling to the world the progressive vision of Seville 
citizens: from the broadcast of the porn week in the billboards of the city to 
the monuments devoted to the “café con leche” (coffee with milk) and to the 
glass of bear. Sevilla en tres niveles is also a fake reportage that depicts 
the illusory division in the city in three levels: the outsiders and criminals 
live in peace in the roofs of the city, the workers and capitalism slaves, 
stressed and fast, live at the street level. In the underground, there is a 
Seville of the past, with people of ancient times still living there. Se

Re: [Frameworks] Film production courses for installation and expanded cinema?

[Adam Hyman]

Lisa Mann has taught this at Univ of Southern California, through the School of 
Cinematic Arts.  I don’t think she is on Frameworks, but I can put you in touch.

 

Best,
Adam

 

On 12/14/21, 3:15 PM, "Frameworks on behalf of Joel Schlemowitz" 
 
wrote:

 

Fellow frameworkers,

 

For those of you who teach filmmaking, I’m curious to know if you cover the 
making of film/video installation works to be shown in a gallery setting, or 
the creation of expanded cinema projection-performance work in any of your 
courses?

 

Is it an option within a more general filmmaking course, where students might 
choose this for a final presentation of work? Or perhaps a more specialized 
course, where all of the students make moving image installation pieces?

 

I ask this because of some technical resources I’m preparing, and I’m curious 
to know the degree to which gallery work is being created as part of a film 
curriculum (or filmmaking is incorporated into a fine arts program, as the case 
may be).

 

Please feel free to write me off the list if you so choose, or share your 
response if you think it may be of interest to others here. Thanks.

 

Best,

Joel Schlemowitz

Part-Time Associate Professor

School of Media Studies, The New School

 

 

~~
https://www.joelschlemowitz.com

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Re: [Frameworks] film transfer question

[Adam Hyman]

The place in Seattle has been open to doing scans with hand-manipulated 16mm 
and 35mm (such as cyanotype)  Give them a call, describe the situation.  They 
will want to inspect and evaluate it first.
Light Press
https://www.lightpress.tv/
They will also not clean it if you ask them, but as already mentioned, they 
might opt not to do it.

Spectra in North Hollywood has said that they might be open to it, but I don't 
know if they have actually done it.

Based on Academy restoration work, I infer Colorlab in Maryland might also be 
open to it.

A

On 12/7/21, 3:38 PM, "Frameworks on behalf of Jeff Kreines" 
 wrote:

Where are you located?  Anyone with a Kinetta Archival Scanner can do it. 
The only potential problem is if the paint were to come off on the PTR rollers 
of the machine — the film would be fine but the rollers are not cheap.


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com

Sent from iPhone. 

> On Dec 7, 2021, at 6:28 PM, Charles Chadwick  
wrote:
> 
> 
> Hi folks, 
> 
> I'm looking for a lab that would be comfortable transferring hand-painted 
film (painted with dr. martin's inks), scratched and taped film, to 1080p, Does 
anyone know of anyplace? I can rephotograph it, but I don't have access to an 
optical printerrephotography would be just a camera and projector. Thanks 
for any info.
> 
> -charles
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Re: [Frameworks] American avant-garde filmmakers and exploitation

[Adam Hyman]

Yes, talking about “Sister Midnight”

I don’t know anyone else working on it.

 

On 11/11/21, 11:18 AM, "Frameworks on behalf of jared ashburn" 
 
wrote:

 

Thank you Tyler and Adam! Smith, Warhol, and the Kuchar brothers are central to 
all of this and I am definitely considering their work and influence on this 
overlap. Turnock's work (this article and her book) is a perfect template for 
what I am trying to do here, but, I cannot seem to find anyone else (aside from 
James and Arthur) researching this part of the history of avant-garde film. For 
Mays, you are talking about "Sister Midnight," right? Thanks, again!

 

On Wed, Nov 10, 2021 at 9:18 PM Adam Hyman  wrote:

Oh, and Peter Mays made an exploitation feature as well.

 

Best,

Adam

 

On 11/9/21, 10:27 AM, "Frameworks on behalf of Fred Camper" 
 wrote:

 

Bette Gordon made her own feature film. It was low budget but I don't know if 
you are looking for that, or for filmmakers who worked for others? Larry Jordan 
made another, The Apparition, only 50 minutes according to IMDB, but it had 
that feature film, or TV-show, look. As best I can remember it was his own 
film. I definitely remember that it looked like it was trying to be a TV show 
or short feature. I love Jordan's best films, but on my one viewing of this 
one, it seemed to be not good at all, not even at what it was trying to do.

Fred Camper

Chicago

 

On 11/9/2021 11:30 AM, jared ashburn wrote:

OK, wow, this is great! Thank you for your replies--this is quite a list. Does 
anyone know if this history has been written about? I thought of David E. James 
and Paul Arthur and I looked at the chapter, "Narrating Los Angeles: Art Films 
and Independent Features," in James' book on minor cinemas in LA. He accounts, 
indirectly, for the point that David Sherman has made here by discussing 
exploitation films that exploited the counterculture and appropriated some 
styles, concepts, and techniques found in the New American Cinema and European 
art cinema. The chapter is useful for my research but I am looking for other 
articles that might address the history of this overlap more explicitly. If you 
think of something, I am all ears. Thank you, again, I am most appreciative. 
-JA 

 

List of American Avant-Garde filmmakers who also worked on low-budget, B and 
exploitation feature films in the 1960s and 70s:

Pat O'Neil 

Curtis Harrington

Nathaniel Dorsky

Morgan Fisher 

Jerry Abrams 

Peggy Ahwesh 

Jerome Hiler

Betzy Bromberg

Hy Hirsh

 

On Mon, Nov 8, 2021 at 10:23 PM Marc Couroux  wrote:

Yes! Fisher mentions Messiah of Evil, and shows a frame of it in Standard 
Gauge. 

M

 

On Mon, Nov 8, 2021 at 5:01 PM Steve Polta  wrote:

Off the top of my head:

1) Nathaniel Dorsky: Revenge of the Cheerleaders (1976)—he was either director, 
co-writer, cinematographer or some combination, depending on whom you ask.

2) I've heard that Morgan Fisher was editor on Messiah of Evil (1973) although 
he is not credited (he appears as an actor as well).

3) Bay Area '60s filmmaker (who also did light shows) Jerry Abrams directed an 
exploitation doc on Bay Area porn culture of the '70s; I can't recall the title.

4) Peggy Ahwesh worked on-set on some George Romero films but I don't know the 
titles. 

 

There are surely lots more…

 

On Mon, Nov 8, 2021 at 1:19 PM jared ashburn  wrote:

Hi, 

 

Does anyone know of any American avant-garde filmmakers who also worked on 
low-budget features, B or exploitation films in the late 60s and 70s? This 
could be in any area of production or post-production... 

 

Thank you,

Jared

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xenaudial

xenaudial (b/c)

The Occulture

WKWYLF (vimeo)

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Re: [Frameworks] American avant-garde filmmakers and exploitation

[Adam Hyman]

Oh, and Peter Mays made an exploitation feature as well.

 

Best,

Adam

 

On 11/9/21, 10:27 AM, "Frameworks on behalf of Fred Camper" 
 wrote:

 

Bette Gordon made her own feature film. It was low budget but I don't know if 
you are looking for that, or for filmmakers who worked for others? Larry Jordan 
made another, The Apparition, only 50 minutes according to IMDB, but it had 
that feature film, or TV-show, look. As best I can remember it was his own 
film. I definitely remember that it looked like it was trying to be a TV show 
or short feature. I love Jordan's best films, but on my one viewing of this 
one, it seemed to be not good at all, not even at what it was trying to do.

Fred Camper

Chicago

 

On 11/9/2021 11:30 AM, jared ashburn wrote:

OK, wow, this is great! Thank you for your replies--this is quite a list. Does 
anyone know if this history has been written about? I thought of David E. James 
and Paul Arthur and I looked at the chapter, "Narrating Los Angeles: Art Films 
and Independent Features," in James' book on minor cinemas in LA. He accounts, 
indirectly, for the point that David Sherman has made here by discussing 
exploitation films that exploited the counterculture and appropriated some 
styles, concepts, and techniques found in the New American Cinema and European 
art cinema. The chapter is useful for my research but I am looking for other 
articles that might address the history of this overlap more explicitly. If you 
think of something, I am all ears. Thank you, again, I am most appreciative. 
-JA 

 

List of American Avant-Garde filmmakers who also worked on low-budget, B and 
exploitation feature films in the 1960s and 70s:

Pat O'Neil 

Curtis Harrington

Nathaniel Dorsky

Morgan Fisher 

Jerry Abrams 

Peggy Ahwesh 

Jerome Hiler

Betzy Bromberg

Hy Hirsh

 

On Mon, Nov 8, 2021 at 10:23 PM Marc Couroux  wrote:

Yes! Fisher mentions Messiah of Evil, and shows a frame of it in Standard 
Gauge. 

M

 

On Mon, Nov 8, 2021 at 5:01 PM Steve Polta  wrote:

Off the top of my head:

1) Nathaniel Dorsky: Revenge of the Cheerleaders (1976)—he was either director, 
co-writer, cinematographer or some combination, depending on whom you ask.

2) I've heard that Morgan Fisher was editor on Messiah of Evil (1973) although 
he is not credited (he appears as an actor as well).

3) Bay Area '60s filmmaker (who also did light shows) Jerry Abrams directed an 
exploitation doc on Bay Area porn culture of the '70s; I can't recall the title.

4) Peggy Ahwesh worked on-set on some George Romero films but I don't know the 
titles. 

 

There are surely lots more…

 

On Mon, Nov 8, 2021 at 1:19 PM jared ashburn  wrote:

Hi, 

 

Does anyone know of any American avant-garde filmmakers who also worked on 
low-budget features, B or exploitation films in the late 60s and 70s? This 
could be in any area of production or post-production... 

 

Thank you,

Jared

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xenaudial

xenaudial (b/c)

The Occulture

WKWYLF (vimeo)

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Re: [Frameworks] American avant-garde filmmakers and exploitation

[Adam Hyman]

Related but not exactly what you are looking for:

“Not Just a Day Job: Experimental Filmmakers and the Special Effects Industry 
in the 1970s and 1980s” by Julie Turnock, in Alternative Projections: 
Experimental Film in Los Angeles, 1945-1980, edited by David E. James and Adam 
Hyman (John Libbey, 2015; distributed by Univ. of Indiana Press)

 

On 11/9/21, 9:30 AM, "Frameworks on behalf of jared ashburn" 
 
wrote:

 

OK, wow, this is great! Thank you for your replies--this is quite a list. Does 
anyone know if this history has been written about? I thought of David E. James 
and Paul Arthur and I looked at the chapter, "Narrating Los Angeles: Art Films 
and Independent Features," in James' book on minor cinemas in LA. He accounts, 
indirectly, for the point that David Sherman has made here by discussing 
exploitation films that exploited the counterculture and appropriated some 
styles, concepts, and techniques found in the New American Cinema and European 
art cinema. The chapter is useful for my research but I am looking for other 
articles that might address the history of this overlap more explicitly. If you 
think of something, I am all ears. Thank you, again, I am most appreciative. -JA

 

List of American Avant-Garde filmmakers who also worked on low-budget, B and 
exploitation feature films in the 1960s and 70s:

Pat O'Neil 

Curtis Harrington

Nathaniel Dorsky

Morgan Fisher 

Jerry Abrams 

Peggy Ahwesh 

Jerome Hiler

Betzy Bromberg

Hy Hirsh

 

On Mon, Nov 8, 2021 at 10:23 PM Marc Couroux  wrote:

Yes! Fisher mentions Messiah of Evil, and shows a frame of it in Standard Gauge.

M

 

On Mon, Nov 8, 2021 at 5:01 PM Steve Polta  wrote:

Off the top of my head:

1) Nathaniel Dorsky: Revenge of the Cheerleaders (1976)—he was either director, 
co-writer, cinematographer or some combination, depending on whom you ask.

2) I've heard that Morgan Fisher was editor on Messiah of Evil (1973) although 
he is not credited (he appears as an actor as well).

3) Bay Area '60s filmmaker (who also did light shows) Jerry Abrams directed an 
exploitation doc on Bay Area porn culture of the '70s; I can't recall the title.

4) Peggy Ahwesh worked on-set on some George Romero films but I don't know the 
titles. 

 

There are surely lots more…

 

On Mon, Nov 8, 2021 at 1:19 PM jared ashburn  wrote:

Hi,

 

Does anyone know of any American avant-garde filmmakers who also worked on 
low-budget features, B or exploitation films in the late 60s and 70s? This 
could be in any area of production or post-production... 

 

Thank you,

Jared

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https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org


 

-- 

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xenaudial

xenaudial (b/c)

The Occulture

WKWYLF (vimeo)

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Re: [Frameworks] Films that are mostly about an audience

[Adam Hyman]

Another film that focuses on an audience, but not a film audience.  "American 
Parade" by Laura Kraning - https://iffr.com/en/iffr/2007/films/american-parade
Are non-film audiences of interest?

On 11/7/21, 10:41 AM, "Frameworks on behalf of John Smith" 
 
wrote:


2’ 45”.   William Raban
So Is This.   Michael Snow
--
 
> Morgan Fisher has a series of films, each called ?Screening Room,? 
made individually for individual venues, which are basically about the 
experience of an audience member, walking in from outside, all the way to 
eating and viewing the screen.  
> 
> http://www.resettheapparatus.net/corpus-work/screening-room.html
> 
> 
http://www.ravenrow.org/events/screening_room_morgan_fisher_programme_at_bfi_southbank/
> 
> There are a couple for spaces in Los Angeles.  I wonder if there is a 
full list of venues for which he has made them.
> 
> 
> 
> Best,
> 
> Adam
> 
> 
> 
> On 11/4/21, 6:16 AM, "Frameworks on behalf of jaime cleeland" 
 wrote:
> 
> 
> 
> Thank you to everyone for the suggestions.  Quite a list to shift through:
> 
> 
> 
> Sharon Lockhart?s TEATRO AMAZONAS.
   
> "Play" (2003), by Christoph Girardet and Matthias M?ller.

> David Rimmer, ?Watching for the Queen" 

> SIDE SEAT PAINTING SLIDE SOUND FILM by Michael Snow

> You could argue Nashville is about an audience. 

> Sally Potter?s Goldiggers 

> Tsai Ming-Liang?s GOODBYE, DRAGON INN.

> Auditorium Ian Breakwell (with Ron Geesin)UK, 1993 32 minutes, Colour, 
Sound

> Abbas Kiarostami's Shirin




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Re: [Frameworks] Films that are mostly about an audience

[Adam Hyman]

*”seating” not “eating”, and it should actually be “sitting”.

 

Morgan Fisher has a series of films, each called “Screening Room,” made 
individually for individual venues, which are basically about the experience of 
an audience member, walking in from outside, all the way to eating and viewing 
the screen.  

http://www.resettheapparatus.net/corpus-work/screening-room.html

http://www.ravenrow.org/events/screening_room_morgan_fisher_programme_at_bfi_southbank/

There are a couple for spaces in Los Angeles.  I wonder if there is a full list 
of venues for which he has made them.

 

Best,

Adam

 

On 11/4/21, 6:16 AM, "Frameworks on behalf of jaime cleeland" 
 wrote:

 

Thank you to everyone for the suggestions.  Quite a list to shift through:

 

Sharon Lockhart’s TEATRO AMAZONAS.

"Play" (2003), by Christoph Girardet and Matthias Müller.

David Rimmer, “Watching for the Queen" 

SIDE SEAT PAINTING SLIDE SOUND FILM by Michael Snow

You could argue Nashville is about an audience. 

Sally Potter’s Goldiggers 

Tsai Ming-Liang’s GOODBYE, DRAGON INN.

Auditorium Ian Breakwell (with Ron Geesin)UK, 1993 32 minutes, Colour, Sound

Abbas Kiarostami's Shirin

 

 

On 11/6/21, 8:48 AM, "Frameworks on behalf of Adam Hyman" 
 wrote:

 

Morgan Fisher has a series of films, each called “Screening Room,” made 
individually for individual venues, which are basically about the experience of 
an audience member, walking in from outside, all the way to eating and viewing 
the screen.  

http://www.resettheapparatus.net/corpus-work/screening-room.html

http://www.ravenrow.org/events/screening_room_morgan_fisher_programme_at_bfi_southbank/

There are a couple for spaces in Los Angeles.  I wonder if there is a full list 
of venues for which he has made them.

 

Best,

Adam

 

On 11/4/21, 6:16 AM, "Frameworks on behalf of jaime cleeland" 
 wrote:

 

Thank you to everyone for the suggestions.  Quite a list to shift through:

 

Sharon Lockhart’s TEATRO AMAZONAS.

"Play" (2003), by Christoph Girardet and Matthias Müller.

David Rimmer, “Watching for the Queen" 

SIDE SEAT PAINTING SLIDE SOUND FILM by Michael Snow

You could argue Nashville is about an audience. 

Sally Potter’s Goldiggers 

Tsai Ming-Liang’s GOODBYE, DRAGON INN.

Auditorium Ian Breakwell (with Ron Geesin)UK, 1993 32 minutes, Colour, Sound

Abbas Kiarostami's Shirin 

 

 
Shirin, (2008) Abbas Kiarostami, Full movie with English subtitle
 

 

10 minutes older' (Frank Herz 1978) 

Owen Land’s REMEDIAL READING COMPREHENSION perhaps?

Jodie Mack’s RAD PLAID, I’d argue.

Barbara Hammer’s AUDIENCE comes to mind, 

 

Best,

Jaime

 

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Re: [Frameworks] Films that are mostly about an audience

[Adam Hyman]

Morgan Fisher has a series of films, each called “Screening Room,” made 
individually for individual venues, which are basically about the experience of 
an audience member, walking in from outside, all the way to eating and viewing 
the screen.  

http://www.resettheapparatus.net/corpus-work/screening-room.html

http://www.ravenrow.org/events/screening_room_morgan_fisher_programme_at_bfi_southbank/

There are a couple for spaces in Los Angeles.  I wonder if there is a full list 
of venues for which he has made them.

 

Best,

Adam

 

On 11/4/21, 6:16 AM, "Frameworks on behalf of jaime cleeland" 
 wrote:

 

Thank you to everyone for the suggestions.  Quite a list to shift through:

 

Sharon Lockhart’s TEATRO AMAZONAS.

"Play" (2003), by Christoph Girardet and Matthias Müller.

David Rimmer, “Watching for the Queen" 

SIDE SEAT PAINTING SLIDE SOUND FILM by Michael Snow

You could argue Nashville is about an audience. 

Sally Potter’s Goldiggers 

Tsai Ming-Liang’s GOODBYE, DRAGON INN.

Auditorium Ian Breakwell (with Ron Geesin)UK, 1993 32 minutes, Colour, Sound

Abbas Kiarostami's Shirin 

 

 
Shirin, (2008) Abbas Kiarostami, Full movie with English subtitle
 

 

10 minutes older' (Frank Herz 1978) 

Owen Land’s REMEDIAL READING COMPREHENSION perhaps?

Jodie Mack’s RAD PLAID, I’d argue.

Barbara Hammer’s AUDIENCE comes to mind, 

 

Best,

Jaime

 

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[Frameworks] minutes, hours, days - 3 films from Lebanon

[Adam Hyman]

Dear Frameworkers, 

Sorry I missed the “This Week in Avant-Garde Films” cut off, but we hosting 
this potent screening this week.  Films online for three days; discussion live 
on Sunday night, 8 pm Pacific, and then it will be available for streaming as 
well.

 

Available online worldwide!

 

Los Angeles Filmforum presents

minutes, hours, days

Saturday, August 21–Monday, August 23, 2021

Online, hosted by Los Angeles Filmforum

 

Conversation: August 22, 2021 at 8pm PDT

In person via Zoom: Filmmaker Rania Stephan in conversation with Guest 
Programmer Zaina Bseiso, viewable on Eventive or Zoom.

 

INFO: https://www.lafilmforum.org/schedule/summer-2021/minutes-hours-days/

323-377-7238

 

​​This month marks one year since the Beirut port explosion. On August 4th, 
2021, people took to the streets to mourn, remember and grieve collectively; 
only to be met with tear gas and unsolicited violence. Events repeat themselves 
and the cycle of corruption and neglect continues without a trace of 
accountability. Past, present and future are in constant collision—in Lebanon 
as in the films—as a result of consistently unresolved needs. This program 
lingers on the repetition of events and celebrates Lebanese filmmakers who 
poetically engage with the weighty task of remembrance. Their work counters 
violence with images of power, desire and unfolded memories. A Film Noir-like 
investigation, recollections of a city increasingly estranged to its own people 
and children’s drawings that complicate the relationship between reality and 
fiction ultimately point at Rania Stephan’s question: “What remains of war, 
death and love with the passing of time?” —Zaina Bseiso

 

Tickets: Sliding Scale, as you can pay, recommended $12 general, $8 students, 
seniors, $0 for Filmforum members at 
https://watch.eventive.org/minuteshoursdays/play/6114b102e4667500b600190c

For more information: www.lafilmforum.org or 323-377-7238.

 

Screening:

 

Red Chewing Gum

by Akram Zaatari (Lebanon, 2000, video, color, sound, 11’)

Courtesy Video Data Bank at the School of the Art Institute of Chicago

 

A video letter that tells a story of separation between two men, set within the 
context of the changing Hamra, a formerly booming commercial center. The video 
looks at image making in relation to consumption and the possession of desired 
subjects. It examines issues of desire and power, and the attempt to capture 
fleeting time.

 

 

Memories for a Private Eye

By Rania Stephan (Lebanon, 2015, video, color, sound, 31’)

 

The first chapter in a trilogy which investigates the filmmaker’s personal 
archive. Evoking the language of film noir, it foregrounds the fictional 
detective Marc McPhearson from the film Laura (1943) by Otto Preminger, to help 
unfold deep and traumatic memories. The film spirals around a lost image: the 
only moving image of the filmmaker’s dead mother. How is absence lived? What 
remains of war, death and love with the passing  of time? These are the 
questions that are delicately displayed for contemplation. While dwelling onto 
the past, the film weaves together images from different sources – private 
archives, cinema, television, YouTube – unfolding into a labyrinthic maze, to 
create a blueprint of remembrance itself. 

 

Children of War  (Les Enfants de la Guerre)

By Jocelyn Saab (Lebanon, 1976, 16mm transferred to digital, color & b/w, 
sound, 12’)

 

Days after the Karantina massacre in a predominantly Muslim shanty town in 
Beirut, Jocelyne Saab met children who’d escaped, and who were deeply 
traumatised by the horrific fighting they’d seen with their own eyes. She gave 
them crayons and encouraged them to draw while her camera filmed. She made a 
bitter discovery: the only games the children engaged in were war games, and 
the war would quickly become a way of life for them as well.

 

Total Runtime: 55 minutes

 

Organized by Zaina Bseiso

 

Biographies:

 

Jocelyne Saab is a filmmaker and a photographer. She was born in 1948 and grew 
up in Beirut. In 1973, she became a war reporter in the Middle-East. In 1975 
she directed her first documentary, Lebanon in Turmoil. She then covered the 
Lebanese war for fifteen years, during which she directed almost thirty films, 
including Beirut, never again, Letter from Beirut and Beirut, my city. She was 
awarded the Order of Chevaliers des Arts et des Lettres for Once Upon a Time, 
Beirut. Throughout her life, she organized a number of important events 
including rebuilding the Lebanese Cinematheque.

 

Born in Beirut, Rania Stephan is an artist and filmmaker working with still and 
moving images. She has directed art videos and creative documentaries. Her 
documentaries give a personal and poetic perspective to political events. 
Archival material has been an underlying enquiry in her artistic work. Her most 
recent work investigates forgotten images and sounds that haunt the present. By 
juxtaposing them with new ones, she explores a div

Re: [Frameworks] doc/exp sports film suggestions

[Adam Hyman]

“Successive Approximations to the Goal” by Beth Block (2015, 1080p digital, 14 
min.)

Here’s part of her note on it.  We had the premiere of it at Filmforum in 2015, 
and I think it’s a masterpiece.

 

“Successive Approximations to the Goal is a term that is used in applied 
behavior analysis.   It refers to the series of slight behavioral changes or 
subsets that are reinforced because they are increasingly more similar to the 
ultimate objective. 

For many years I have been driven by the desire to spatially 
portray the passage of time, in a perpetually disappointing search for a way to 
counteract the injustice of being able to perceive time only in singular 
fleeting moments.  In this experiment, I wanted to film many people interacting 
with each other in a confined space.  I filmed an LA Galaxy/Vancouver Whitecaps 
soccer game and then combined the images to portray the motion over time of the 
players, the refs and the ball. 

As the different pieces emerged, I was struck by the inevitability and futility 
of what I was seeing, which triggered in me thoughts of rats in cages, 
endlessly pushing rocks up mountains, video games that you always lose and the 
paradox of the movement of electrons.   The sound interprets, in many different 
ways, the possible explanations for such strange human behavior.- BB

-

Slow Motion (Relentis) by William Klein
Athletes appear onscreen floating through space in slow motion in William 
Klein’s dreamlike vision of their athletic movements. 1984, 35mm, silent, 20 min

 

Also...

 

Men's Hockey by Steve Wetzel 

2004, 55 minutes

 

 

On Thu, Jul 29, 2021 at 7:14 AM Elena Duque  wrote:

I like very much this Croatian film by Ana Husman:

https://vimeo.com/28365381

 

 

El jue, 29 jul 2021 a las 10:23, Albert Alcoz () 
escribió:

At the end of the previously cited INCITE magazine is a listing of 160 films, 
sorted by sports, compiled by Brett Kashmere and Astria Suparak. "A Selective 
Guide to Sports in Experimental Media" is the title of it. Of all of them I 
think I prefer Ladislav Galeta's "TV Ping Pong". I just checked that "Muzné 
hry" (Virile Games, 1988) by Jan Svankmajer is missing, for example. Anyway, it 
is an incredible list of references. 

 

Albert Alcoz

 

On Thu, Jul 29, 2021 at 1:32 AM Brandon Walley  wrote:

Not really about sport, in the conventional sense...

 

If the War Continues, Jonathan Schwartz (rip)

https://canyoncinema.com/catalog/film/?i=5056


Brandon Walley

he/him/his 

www.brandonwalley.com

mediacityfilmfestival.com

Kresge Arts Fellow

 

**Detroit occupies unceded land, currently and historically stewarded by Niswi 
Ishkodewan Anishinaabeg: The Three Fires Confederacy of the Ojibwe, Odawa, and 
Potawatomi**

 

 

 

On Wed, Jul 28, 2021 at 3:54 PM Todd Eacrett  wrote:

 

Jørgen Leth's cycling films A Sunday in Hell, Stars and Watercarriers, and The 
Impossible Hour.

 

 

On Wed, Jul 28, 2021, at 7:30 AM, jjmartinod wrote:

Hello frameworkers,

Working on something new and am looking for references of 
documentary/experimental short films on sports. 

Would any have links/references to anything close to the topic? 

Deeply appreciated. 

salud,

j-j

 

 

 

 

 

 

-

 

 

Sent with ProtonMail Secure Email.

 

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-- 

http://albertalcoz.com/

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-- 

Elena Duque Viña
Telf: (+34) 605431072 
http://cargocollective.com/elenaduque

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Re: [Frameworks] Cecile Starr 100

[Adam Hyman]

Dear Christian,

Didn’t realize that you were behind it.  Well done.  I’m still overdue to buy a 
copy of the Dulac book – I thought that was eBook only.  I’ll contact you 
off-list about that.

For Cecile Starr, are there color illustrations as part of it?  eBook might be 
fine but I may opt for a PDF.  

 

Very truly yours,

Adam

 

 

-- 

Adam Hyman

Los Angeles Filmforum

a...@lafilmforum.org

http://www.lafilmforum.org

 

 

 

From: Frameworks  on behalf of Christian 
LEBRAT 
Reply-To: Experimental Film Discussion List 
Date: Thursday, July 15, 2021 at 12:16 AM
To: 
Subject: Re: [Frameworks] Cecile Starr 100

 

Hello Adam, that's an interesting question.

I hesitate a lot of spending time and money for a print edition.

 

I have done it for Dulac's Writings

http://www.paris-experimental.fr/project/dulac-english/

and I'm quite disappointed as very few orders came and I am loosing money...

 

May be I can provide a Pdf through Torrossa platform. is that good for you.

 

(sorry for my bad english)
Yours

Christian

PARIS EXPERIMENTAL

 

 

Le 15/07/2021 à 01:16, Adam Hyman a écrit :

Do you think a print edition will ever come, or is only e-book most likely?

 

Best regards,

Adam

 

 

 

From: Frameworks  on behalf of Pip 
Chodorov 
Reply-To: Experimental Film Discussion List 
Date: Wednesday, July 14, 2021 at 9:51 AM
To: Experimental Film Discussion List 
Subject: [Frameworks] Cecile Starr 100

 

Dear friends,

 

Today marks the 100th anniversary of Cecile Starr’s birth and a book has just 
been released in her honor!

I had the privilege to contribute along with Jodie Mack, Cindy Keefer and 
others.

It is available starting today as an ebook from Eyewash books (Paris 
Experimental), edited by Scott Hammen.

 

https://www.eyewashbooks.com/cecilestarr

 

It’s a wonderful tribute to an amazing lady and I encourage you all to take a 
look!

 

- Pip Chodorov

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Re: [Frameworks] Cecile Starr 100

[Adam Hyman]

Do you think a print edition will ever come, or is only e-book most likely?

 

Best regards,

Adam

 

 

 

From: Frameworks  on behalf of Pip 
Chodorov 
Reply-To: Experimental Film Discussion List 
Date: Wednesday, July 14, 2021 at 9:51 AM
To: Experimental Film Discussion List 
Subject: [Frameworks] Cecile Starr 100

 

Dear friends,

 

Today marks the 100th anniversary of Cecile Starr’s birth and a book has just 
been released in her honor!

I had the privilege to contribute along with Jodie Mack, Cindy Keefer and 
others.

It is available starting today as an ebook from Eyewash books (Paris 
Experimental), edited by Scott Hammen.

 

https://www.eyewashbooks.com/cecilestarr

 

It’s a wonderful tribute to an amazing lady and I encourage you all to take a 
look!

 

- Pip Chodorov

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Re: [Frameworks] Hybrid Docs

[Adam Hyman]

I misspelled it:

Afrique, je te plumeria

 

Hmmm, not sure why Newsreel would discontinue it.

http://newsreel.org/video/AFRIQUE-JE-TE-PLUMERAI

 

Here is  his Vimeo page with an email for him; I suppose it is worth writing to 
ask how to get it these days:

https://vimeo.com/user5688138

unless someone here already knows.

 

 

From: Frameworks  on behalf of Shashwati 
Talukdar 
Reply-To: Experimental Film Discussion List 
Date: Monday, June 28, 2021 at 9:50 AM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] Hybrid Docs

 

Seems like 'Afrique, je te plumeria' has been discontinued, so it will take 
some digging to find it. 

 

And Guy Maddin is always good on any list!


regards,

 

Shashwati Talukdar
夏雪莉
---



http://dontbeatmesir.comhttp://wallstories.fournineandahalf.com/http://fournineandahalf.com

 

 

On Tue, Jun 29, 2021 at 12:17 AM Alex Morelli  wrote:

My Winnipeg by Guy Maddin checks many of these boxes! 

 

On Mon, Jun 28, 2021 at 12:12 PM Adam Hyman  wrote:

These mix different modes within one film:

 

A Tale of the Wind (Une histoire de vent) by Joris Ivens and Marceline Loridan

Mixes earlier archival footage of Ivens own, theatrical productions, a 
fictional quest for the source of the wind, all towards a meditation on China, 
and more

 

Afrique, je te plumeria (African, I will Fleece you), by Jean-Mare Teno

 

Operation Homecoming: Writing the Wartime Experience, directed by Richard 
Robbins.  I was co-producer on this one

 

 

From: Frameworks  on behalf of Morgan 
Hoyle-Combs 
Reply-To: Experimental Film Discussion List 
Date: Monday, June 28, 2021 at 5:57 AM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] Hybrid Docs

 

I have been on the lookout for the exact same type of docs you are. So far, the 
one's that I have caught my attention are 

 

David Holzman's Diary by Jim McBride

Confessions of a Sociopath by Joseph Gibbons

Stories We Tell by Sarah Polley

Portrait of Jason by Shirley Clark

Waterscape: illusions by Ann Deborah Levy 

Surname Viet Given Name Nam by Trinh T. Minh-ha

 

If anyone comes across anything else of this nature please list them. I'm just 
as curious!

On Monday, June 28, 2021, 07:25:58 AM EDT, Shashwati Talukdar 
 wrote: 

 

 

Haven't seen it. Duly noted.


regards,

 

Shashwati Talukdar
夏雪莉
---

 

http://dontbeatmesir.comhttp://wallstories.fournineandahalf.com/http://fournineandahalf.com

 

 

On Mon, Jun 28, 2021 at 5:59 PM  wrote:

Alexander Kluge, die macht der gefūhle.

Shashwati Talukdar
夏雪莉
---
<https://www.facebook.com/fournineandahalf> <http://vimeo.com/shashwati>


On Mon, Jun 28, 2021 at 1:01 PM FrameWorks Admin 
wrote:

> I can also recommend “Nobody’s Business” by Alan Berliner, as well as most
> of Alan’s other films.
> Best wishes, Pip
>
 

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Re: [Frameworks] Hybrid Docs

[Adam Hyman]

These mix different modes within one film:

 

A Tale of the Wind (Une histoire de vent) by Joris Ivens and Marceline Loridan

Mixes earlier archival footage of Ivens own, theatrical productions, a 
fictional quest for the source of the wind, all towards a meditation on China, 
and more

 

Afrique, je te plumeria (African, I will Fleece you), by Jean-Mare Teno

 

Operation Homecoming: Writing the Wartime Experience, directed by Richard 
Robbins.  I was co-producer on this one

 

 

From: Frameworks  on behalf of Morgan 
Hoyle-Combs 
Reply-To: Experimental Film Discussion List 
Date: Monday, June 28, 2021 at 5:57 AM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] Hybrid Docs

 

I have been on the lookout for the exact same type of docs you are. So far, the 
one's that I have caught my attention are 

 

David Holzman's Diary by Jim McBride

Confessions of a Sociopath by Joseph Gibbons

Stories We Tell by Sarah Polley

Portrait of Jason by Shirley Clark

Waterscape: illusions by Ann Deborah Levy 

Surname Viet Given Name Nam by Trinh T. Minh-ha

 

If anyone comes across anything else of this nature please list them. I'm just 
as curious!

On Monday, June 28, 2021, 07:25:58 AM EDT, Shashwati Talukdar 
 wrote: 

 

 

Haven't seen it. Duly noted.


regards,

 

Shashwati Talukdar
夏雪莉
---

 

http://dontbeatmesir.comhttp://wallstories.fournineandahalf.com/http://fournineandahalf.com

 

 

On Mon, Jun 28, 2021 at 5:59 PM  wrote:

Alexander Kluge, die macht der gefūhle.

Shashwati Talukdar
夏雪莉
---
 


On Mon, Jun 28, 2021 at 1:01 PM FrameWorks Admin 
wrote:

> I can also recommend “Nobody’s Business” by Alan Berliner, as well as most
> of Alan’s other films.
> Best wishes, Pip
>
>

 

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[Frameworks] Gene Youngblood Memorial today

[Adam Hyman]

It’s on now with recordings of various talks by Gene, and speakers start soon….

 

June 15

1 pm Pacific time, 4 pm Eastern

 

https://www.crowdcast.io/e/gene-youngblood-tribute/register

 

 


 

-- 

Adam Hyman
c: (323) 807-4202

 

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[Frameworks] What We Imagine in Its Absence Starts Thursday - Films by Vika Kirchenbauer this week

[Adam Hyman]

 

View this email in your browser 
 

What We Imagine in Its Absence
Films by Vika Kirchenbauer and Caroline Key
Starting Thursday May 16
Untitled Sequence of Gaps, by Vika Kirchenbauer. 
Los Angeles virtual premiere this Thursday - Sunday

 

In order to know something, must we be able to see it? If not, then how do we 
come to know what refuses visibility? What is imagined in what we cannot see?
 
This three-part program series explores these questions by engaging with the 
works of two artists and filmmakers Vika Kirchenbauer (Berlin) and Caroline Key 
(Brooklyn, NY). Within their respective practices, these artists meditate on 
conditions of alterity and constructions of otherness by exploring opacity as a 
mode of formal, conceptual, and aesthetic address.
 
Rather than prioritizing notions of transparency and the insistence of visual 
representation as a central means of capture, Kirchenbauer and Key instead call 
attention to the gaps, traces, and peripheries of the subjects within their 
works. Through utilizing forms of experimental non-fiction, essay, translation, 
and performance, the artists’ works in this series reflect on the conditions of 
medicalized, institutional, and state violence and its material and affective 
impacts on subjects marked by racialized, gendered, classed, and sexual 
difference. They allow us to consider what remains unknowable, invisible, or 
unremembered within the limitations of the image and its production, and by 
doing so, reveal what often lies in plain sight -- reorienting us to other 
registers of perception, speculation, and impossibility.
Programmed by Leeroy K. Y. Kang
 
For this series we are presenting two screenings online and a conversation:
Part 1: Vika Kirchenbauer runs from May 13 - May 16, 2021
Part 2: Caroline Key runs from May 20 - May 23, 2021
Part 3: Conversation with both artists and programmer Leeroy K. Y. Kang will be 
on Thursday May 27 at 5 pm PDT

All tickets include admission to the conversation on May 27.
 

 
 

 

Welcome Address, by Vika Kirchenbauer.  Los Angeles virtual premiere
PART 1: VIKA KIRCHENBAUER
May 13-16, 2021Tickets: 
https://watch.eventive.org/whatweimagine/play/608484d57fd9590094872741
Suggested donation: $12 general, $8 students/seniors, free for Filmforum members
All tickets include admission to the conversation with the artists premiering 
on May 27.

This program features five works by Berlin-based filmmaker, artist, writer, and 
music producer Vika Kirchenbauer, including the Los Angeles virtual premiere of 
her new short film, UNTITLED SEQUENCE OF GAPS, which recently was awarded the 
German Film Critics Award for Best Experimental Film in 2020. Offering a 
glimpse into Kirchenbauer’s wide-ranging practice, these works are 
interconnected through their complex negotiations of visibility as they relate 
to ideas of personal and collective memory/non- remembrance, politics of 
spectatorship, and the performative gestures by which difference is codified. 
These themes are explored as part of the artist’s ongoing examination of the 
role of the participatory gaze in the maintenance of violence and institutional 
power structures.Produced nearly a decade apart, LIKE RATS LEAVING A SINKING 
SHIP (2012) and UNTITLED SEQUENCE OF GAPS (2020) operate in many ways as 
companion pieces -- two essay films that offer reflections on the artist’s past 
through first-person and polyvocal address, montage, and non-linear narrative. 
As the former challenges categorical distinctions between personal subjectivity 
and psychiatric discourse surrounding the diagnosis of gender dysphoria, the 
latter approaches trauma-related memory loss through reflections on light 
outside the visible spectrum, meditating on what is felt but never seen. These 
films work to examine the interiorities of trauma and the unstable devices of 
visuality, remembrance, and the institutionalized notions of objectivity that 
cipher into our everyday understandings of personal and collective 
history.Continued themes of spectatorship and the politics of “looking” figure 
into the remaining works in the program. Produced as part of her music 
production project COOL FOR YOU, the two works SHE WHOSE BLOOD IS CLOTTING IN 
MY UNDERWEAR (2016) and SHAME/HUMILIATION (2018) feature Kirchenbauer’s 
frequent use of infrared cameras in her practice, TRT: 53 mins*This program is 
geo-blocked to the United StatesVika Kirchenbauer is an artist, writer and 
music producer based in Berlin. In her work she explores opacity in relation to 
representation of the ʻotheredʼ and discusses the role of emotions in 
contemporary art, labour and politics. With particular focus on affective 
subject formation, she examines violence as it attaches to different forms of 
visibility and invisibility, and considers the ways in which subjects are 
implicated in and situated within institutional power structures.Her work has 
been presented in a wide range of contexts including Whitechapel Gal

Re: [Frameworks] artists films/experimental films about cinemas

[Adam Hyman]

FILMFORUM FILM (Craig Rice, 1980)

A short portrait of Pasadena Filmforum made as the backing for an NEA grant.

I’d have to provide it to you.

 

Best,

Adam

 

From: Frameworks  on behalf of Bryan 
Konefsky 
Reply-To: Experimental Film Discussion List 
Date: Monday, April 26, 2021 at 9:36 AM
To: Experimental Film Discussion List 
Subject: [Frameworks] artists films/experimental films about cinemas

 

Hi all, I am in the early moments of curating a program of films 
(artists'/experimental/personal) that think about cinemas. I would prefer short 
films and these can be pre-COVID/COVID/post-COVID works. Please send along 
suggestions.

thanks

Bryan Konefsky
president, Basement Films

founder/director, Experiments in Cinema

 

Great art has always gone to the masses, to their hopes and dreams, for that 
spark that kindled their souls. The rest, "the many, all too many" as Nietzsche 
called mediocrity, have been mere commodities that can be bought with money, 
cheap glory, or social position.
- Emma Goldman

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[Frameworks] Los Angeles Filmforum presents Can You Sense It? Video Art by Bridget Reweti and Tamika Galanis

[Adam Hyman]

 

 

From: "lafilmfo...@gmail.com" 


 

 

 

View this email in your browser 
 

Los Angeles Filmforum presents
Can You Sense It?
Video Art by Bridget Reweti and Tamika Galanis
April 25 - May 8, 2021
Are You Still Recording?, by Bridget Reweti

 

Los Angeles Filmforum presents
Can You Sense It?
The Video Art of Bridget Reweti and Tamika Galanis
April 25 - May 8, 2021

The Video Art of Bridget Reweti runs from April 25 - May 1, 2021
The Video Art of Tamika Galanis runs from May 2 - May 8, 2021.  
A conversation with both artists and curator Jacqui Brown will be on Saturday 
May 8 at 5 pm PDT/8 pm EDT.
Note that each artist's screening runs for a week, and not the same week.

What are you sensing, around the political and public health disasters and 
through a year of virtual connections? Can you sense around and through 
disaster? What does your body feel? Where does your mind take you? Have you had 
extrasensory experiences lately? Are you connecting to other worlds and your 
communities beyond screens?

“Can You Sense It?,” programmed by guest curator Jacqui Brown for Los Angeles 
Filmforum, deeply engages the work of two filmmakers - Bridget Reweti and 
Tamika Galanis - to pull you through your screens and drop you beyond this 
global pandemic to connect deeply to what it is that only you can sense.

The works presented exist between the possibilities of film, grounded in land 
and place and people overlooked, placing nonfiction film in service of 
embodiment. They sever the connection between image and dialogue, facilitating 
the transfer of your energy away from your screen to your senses and the 
vibrations of land, place, and connections.  

Bridget Reweti suffuses the Aotearoan landscape with voices, mythologies, and 
communality to dispel romantic notions of the “natural world” and close the gap 
between our natural and lived environments. Tamika Galanis reverses Reweti’s 
circulation of life to landscape, placing the outdoors in service of archiving 
Bahamian interiority. Tamika places herself in an unenviable race - capturing 
what is The Bahamas, as her home, known as “The Ephemeral Islands,” is actually 
disappearing.

Can you sense it? That for some of us, our worlds have been ending for 
centuries? Can you sense it? That our work never ended? Can you sense it? Your 
relationship to the source? If you leverage your senses, these films will 
snatch you through the screen and set you down in fully formed worlds.

We're presenting two screenings online and a conversation.
Part 1: The Video Art of Bridget Reweti,  from April 25 - May 1, 2021
Part 2: The Video Art of Tamika Galanis,  from May 2 - May 8, 2021.  
A conversation with both artists and curator Jacqui Brown will be on Saturday 
May 8 at 5 pm PDT/8 pm EDT.

Tickets: All tickets include admission to the conversation on May 8.
 
Ticketing: Part 1, Bridget Reweti: Sliding Scale, $0 for members, $5 for 
students, $8, $12, $20 
https://watch.eventive.org/canyousenseit/play/607e48f1b7197c009ca52b45
 
Part 2, Tamika Galanis: Sliding Scale, $0 for members, $5 for students, $8, 
$12, $20  https://watch.eventive.org/canyousenseit/play/60802ab25d51ea008c42294e
 
Both Screenings: Sliding Scale, $0 for members, $5 for students, $8, $12, $20, 
$30
https://watch.eventive.org/canyousenseit/play/607e48f1b7197c009ca52b45
 

 
 

 

A Good Sense of Direction, by Bridget Reweti
The Video Art of Bridget Reweti, screening April 25 - May 1
Bridget Reweti (she/her’s) is an artist and curator from Ngāti Ranginui and 
Ngāi Te Rangi in Tauranga Moana, Aotearoa. Her lens-based practice practice 
explores indigenous landscape perspectives and the intricacy of contemporary 
Māori realities.  Reweti has held numerous residencies both nationally and 
internationally and her work is held in both private and public collections, 
she is the 2020-21 Frances Hodgkins Fellow at Otago University.

Reweti is part of Mata Aho Collective, a collaboration between four Māori women 
artists who produce large scale textile works, commenting on the complexity of 
Māori lives. Reweti has a vested interest in making space from governance to 
operations to audience for Māori to feel safe and brave in the arts. She has 
curated both solo and group shows throughout Aotearoa and also co-editor of ATE 
Journal of Māori Art, an annual peer-reviewed journal of Māori Art. Reweti 
holds a Masters with first class honours in Māori Visual Arts from Toioho ki 
Āpiti, Massey University and a PgDip in Museum and Heritage Studies from 
Victoria University of Wellington.

Full details on her films at 
https://www.lafilmforum.org/schedule/winter-2021/can-you-sense-it-part-1-the-video-art-of-bridget-reweti-new-screening-detail/
 

Returning the Gaze: I ga’ gee’ you what you lookin’ for! by Tamika Galanis, 
Screening May 2 - May 8.

 

The Video Art of Tamika Galanis, screening May 2 - May 8

Tamika Galanis is a documentarian and multimedia visual artist. A Bahamian 
native, Tamika’s work examines the

Re: [Frameworks] Two Open Calls! for Filmmakers and Programmers NOW CLOSED

[Adam Hyman]

Hi all,

The open calls are now closed.  

(Sorry, but please don’t email asking if we’ll still take something. We have 
more than enough submissions.)

Thank you to everyone who sent us a proposal or a film!

 

Best regards

Adam



On Mar 31, 2021, at 5:41 PM, Adam Hyman  wrote:

 

Last call!  We’ll probably take down the submission links on the morning of 
April 1.  Thank you.

 

Best regards,


Adam

 

 

 

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Frameworks mailing list
Frameworks@film-gallery.org
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[Frameworks] Two Open Calls! for Filmmakers and Programmers

[Adam Hyman]

Last call!  We’ll probably take down the submission links on the morning of 
April 1.  Thank you.

 

Best regards,


Adam

 

 

 

 

From: "lafilmfo...@gmail.com" 
Reply-To: "lafilmfo...@gmail.com" 
Date: Tuesday, March 23, 2021 at 7:35 PM
To: Adam Hyman 
Subject: Two Open Calls! for Filmmakers and Programmers

 

View this email in your browser 
 

Last Call for Two Open Calls!
And Alternative Film and
Video Events of Note
 

Greetings all. We have two open calls, both due March 31.

Open Call For Programmers
Call for Los Angeles Filmforum Program Proposals!

Los Angeles Filmforum is accepting program proposals for the 2021 calendar 
year. As a way to widen our net of curatorial possibilities and spark 
inspiration in our film communities during this unprecedented time, we would 
love to hear from you in this call for programming. 

We are looking for engaging ideas from first-time, emerging, or seasoned 
programmers and curators for single programs, program series, or other 
programmatic formats that highlight short or feature-length works.  Given the 
uncertainty of when theater venues will be open again to the public and to 
support the ongoing safety of our patrons, we ask that proposals be submitted 
for virtual viewing only.

Criteria:

The following criteria must be met for proposals to be considered:
•Each Program Running Time: 50-70 mins (preferred)
•All works must be able to be presented in a virtual screening 
environment 
•Proposals must include a post-screening Q&A component with featured 
filmmakers/artists 
•Programs must align with Los Angeles Filmforum's mission to exhibit 
non-commercial, independent, experimental, and progressive film and media art
•We ask that programmers refrain from programming their own works; 
however, all proposals will be considered on a case-by-case basis.
•If you have an idea for a series, please limit it to three programs at 
most.
•Priority will be given to programmers in Southern California, but we 
will not be limiting it to only people from the area
Submission Deadline: March 31, 2021 @ 11:59 pm PDT

To submit a proposal please complete this online Proposal Form: 
https://forms.gle/4cqXFCs3Qr4r2RVh8

Members from Filmforum's Programming Committee will review proposals and inform 
all participants in late April or May, 2021.

Selected guest programmers will receive a $250 stipend along with a $500 budget 
for artist fees/film rentals per program. Technical and promotional support 
from Filmforum will also be provided for all selected programs.

Program Committee Review Panel: 
Madison Brookshire
Jheanelle Brown
Kate Brown
Tuni Chatterji
Adam Hyman
Leeroy Kang

If you have any questions please contact:  lafilmfo...@yahoo.com 
We look forward to your proposals. Please spread the word!
https://www.lafilmforum.org/open-calls-march-2021/
 

Open Call For Filmmakers
We’re announcing an open call for films started and completed during the 
pandemic.  We originally announced this with a deadline of February 28, but it 
was buried in another announcement and we received only a few, so we are 
extending the deadline to March 31, 11:59 pm PDT.
We are looking for short works (under 20 minutes) that can be screened 
digitally, assuming we will be holding the show(s) virtually in the late Spring.
We’re keeping it simple, and not having submission fees, although if we get too 
many, we may need to change that.  We would like to see experimental and 
animated works, not short narratives.  Your work on them should have started 
after March 15, 2020, and presumably they should in some way deal with the 
pandemic, observations and emotions you have dealt with in this period, and 
whatever else seems appropriate.  Abstract films are great; observations of 
places, essays on physical distancing, and so forth. Please email 
lafilmfo...@yahoo.com with any questions.  We’ll be paying a small honorarium 
for each film screened!  To submit a film, please use the  form at 
https://forms.gle/uWMJeAqgyb3ETJ929 before March 31!
 

Greetings all,
Here are some noteworthy events coming up. 

The 59th Ann Arbor Film Festival is online now!
March 23-28, 2021
https://59aaff.eventive.org/
https://watch.eventive.org/59aaff
Lots of great films!

As Above, So Below, by Larry Clark
March 25, 2021 - 4:00 pm
Streaming online, through the UCLA Film & Television Archive
FREE RSVP
https://www.cinema.ucla.edu/events/2021/03/25/as-above-so-below

Post-screening conversation with filmmaker Larry Clark and cultural critic 
Ernest Hardy.
As Above, So Below
U.S., 1973, Color and b&w, 52 min. Director: Larry Clark. Screenwriter: Larry 
Clark. With: Nathaniel Taylor, Gail Peters, Billy Middleton.
Free jazz, state propaganda, religious feeling and revolutionary action all 
roil the air in writer-director Larry Clark’s masterwork of the L.A. Rebellion. 
When Black veteran Jita Hadi (Nath

Re: [Frameworks] Microcinemas around the world

[Adam Hyman]

That covers Europe only, it seems.
Another place to see a list was Scott Stark's Flicker site, under venues:
http://www.hi-beam.net/org/showindex.html
And I run Los Angeles Filmforum, which is one.  In LA also have the Echo Park 
Film Center, and Vidiots.  There was the Now Instant Cinema Hall as well but 
the pandemic did it in.

Best,
Adam

On 3/11/21, 7:09 AM, "Frameworks on behalf of FrameWorks Admin" 
 wrote:

Dear Elena,
There is a whole mailing list and collective for such microcinemas. 
Please visit for more information: https://www.kino-climates.org/
-Pip Chodorov



> On Mar 11, 2021, at 7:35 PM, Elena Duque  wrote:
> 
> I hope you are doing fine. I am reaching to you because I am researching 
a little bit on microcinemas and independent venues that screen experimental 
cinema all over the world. I would love to know what venues of this kind do you 
have in your cities. I am thinking about places like Light Industries in NY, or 
Close Up Cinema in London and so on. I would appreciate any feedback you have 
on this!


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Frameworks mailing list
Frameworks@film-gallery.org
https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org




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Frameworks@film-gallery.org
https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org

[Frameworks] Lynne Sachs & Stephen Vitiello: Sound Engagements through Los Angeles Filmforum

[Adam Hyman]

 

 

 

 

View this email in your browser 
 

Los Angeles Filmforum presents
Lynne Sachs & Stephen Vitiello:
Sound Engagements
Program 1: Four Films
Program 2: Film About a Father Who...
Online February 12-22, 2021
 

Stephen Vitiello recognizes the interior sounds of objects and releases them 
for us to hear. He made music for 5 Lynne Sachs films!  

Los Angeles Filmforum presents
Lynne Sachs & Stephen Vitiello: Sound Engagements
Films Screening February 12-22, 2021
Two programs!

Two Conversations included with tickets to either program!

Live Q&A with Lynne Sachs on Friday, February 19, 7:00 pm PST (10:00 pm EST) by 
Zoom
 
Conversation with Lynne Sachs and Stephen Vitiello moderated by musician and 
music critic Sasha Frere-Jones on Sunday February 21, 5:00 pm PST (8:00 pm EST) 
by Zoom
Online via Los Angeles Filmforum
 
Filmforum is delighted to kick off 2021 by welcoming back our friend Lynne 
Sachs with her new film and several past works, all of which include original 
music by sound artist Stephen Vitiello.  

Lynne Sachs has made a series of delicate portraits of small communities making 
their way in the modern world, merging theatrical and poetic forms into 
uniquely powerful documentaries.  Most recently, she has utilized years of 
filming of and with her father to form a complicated portrait of an elusive 
man.  In the films we are highlighting, she has found her ideal musical 
companion, Stephen Vitiello, who finds lines and moods that reflect the 
tangible surroundings and intangible desires of people striving to find 
meaningful lives.

“In collaborating on the soundtracks for my films, Stephen Vitiello somehow 
recognizes the interior sounds of objects and releases them for us to hear. 
Together his music and his sound designs push audiences toward a new way of 
experiencing cinema.” - Lynne Sachs

In these two programs, Los Angeles Filmforum explores the seven-year 
collaborative relationship between filmmaker Lynne Sachs and sound artist 
Stephen Vitiello.
Admission will include receiving links to both Zoom conversations!

Stephen Vitiello has just released a new album for these screenings!
Soundtracks for Lynne Sachs (Volume 1, Film About A Father Who, Tip of My 
Tongue):

https://stephenvitiello.bandcamp.com/album/soundtracks-for-lynne-sachs-volume-1-film-about-a-father-who-tip-of-my-tongue

Program 1 includes four films: Your Day Is My Night, The Washing Society, 
"Drift and Bough", and Tip of My Tongue.  
Full information at 
https://www.lafilmforum.org/schedule/winter-2021/lynne-sachs-four-films-with-stephen-vitiello/
Tickets on sliding scale, $0-$20 at https://lynnesachs4films.bpt.me

Program 2, separate admission, includes her newest work, Film About a Father 
Who...
Full information at 
https://www.lafilmforum.org/schedule/winter-2021/film-about-a-father-who/
Tickets $12 general, $8 members via Cinema Guild at 
https://cinemaguild.vhx.tv/checkout/film-about-a-father-who-los-angeles-filmforum/purchase
 

Film About a Father Who... by Lynne Sachs
Films by Lynne Sachs with music and sound design by Stephen Vitiello
2013 - 2020
The first four are included in Program 1; the latest film is in Program 2.

Your Day is My Night (2013, HD video and live performance, color, sound, 64 
min.,)
Immigrant residents of a “shift-bed” apartment in the heart of New York City’s 
Chinatown share their stories of personal and political upheaval. As the bed 
transforms into a stage, the film reveals the collective history of the Chinese 
in the United States through conversations, autobiographical monologues, and 
theatrical movement pieces. Shot in the kitchens, bedrooms, wedding halls, 
cafés, and mahjong parlors of Chinatown, this provocative hybrid documentary 
addresses issues of privacy, intimacy, and urban life.
 
"A strikingly handsome, meditative work: a mixture of reportage, dreams, 
memories and playacting, which immerses you in an entire world that you might 
unknowingly pass on the corner of Hester Street, unable to guess what's behind 
the fifth-floor windows." -The Nation
Trailer: https://www.youtube.com/watch?v=0Pks0_IRHek
In Chinese, English & Spanish with English Subtitles.
 
Featuring: Yi Chun Cao, Linda Y.H. Chan, Chung Qing Che, Ellen Ho, Yun Xiu 
Huang, Sheut Hing Lee, Kam Yin Tsui, & Veraalba Santa.
Camera by Sean Hanley and Ethan Mass
 
Winner, Best Feature Documentary, San Diego Asian Film Festival, 2013 * Winner, 
Best Feature Film, Workers Unite! Film Festival, 2013 * Winner, Best 
Experimental Film, Traverse City Film Festival, 2013

“Drift and Bough” (2014, Super 8mm on Digital, B&W, sound, 6 min.)
Sachs spends a winter morning in Central Park shooting film in the snow. 
Holding her Super 8mm camera, she takes note of graphic explosions of dark and 
light and an occasional skyscraper. The stark black lines of the trees against 
the whiteness create the sensation of a painterʼs chiaroscuro. Woven into this 
cinematic landscape, we hear sound artist Stephen Vitielloʼs deli