Re: [Frameworks] An animal is not a metaphor - special program at 62nd AAFF

[Stephen Anker]

Looks good, Kornelia. I wish I could be there.have a great time!
Steve

On Wed, Mar 27, 2024 at 8:07 PM Kornelia Boczkowska <
kornelia.boczkow...@gmail.com> wrote:

> Dear colleagues,
> There’s a special program on animals in experimental film at the AAFF.
> Perhaps it might of interest to those living in Ann Arbor or nearby. The
> show’s at the State Theatre on Saturday 7PM - pls see below for details.
> Best,
> Kornelia
>
> An Animal is Not a Metaphor
> Curated by Kornelia Boczkowska
>
>
> Since the early days of avant-garde cinema, some iconic experimental
> films, including Private Life of a Cat (Maya Deren and Alexander Hammid,
> 1947), Mothlight (Stan Brakhage, 1963), Berlin Horse (Malcolm Le Grice,
> 1970), and Jamal (Ibrahim Shaddad, 1981), have abundantly featured
> animals, usually presented not as mere props or companions, but as central
> characters both closely interlinked with and independent of humans. In
> response to the animal crisis and the current developments of the
> Anthropocene, this program will demonstrate how artist-made films bring in
> the animal viewpoint so that animals become not just a subject or a
> metaphor, but a real object of the film, and provide clues to reexamining
> and transforming species co-existence.
>
>
> Berlin Horse
> Malcolm Le Grice
> UK | 1970 | 7 | 16mm
> Two sequences: one, a horse being exercised in the village of Berlin near
> Hamburg in Germany; the other, an early Edison newsreel of horses being led
> from a burning stable. Both were visually transformed and colored on the
> printer at the London Film Makers Cooperative. The sound is an original
> track by Brian Eno.
>
>
> Jamal [A Camel]
> Ibrahim Shaddad
> Sudan | 1981 | 13 | 16mm
> A report from the life of a camel, most of which plays out in a dreary,
> small room—a sesame mill.
>
>
> Cat Dance
> Scott Stark
> USA | 1991 | 6 | digital
> Two cats become visual elements as they are playfully dragged through
> fields of pattern and color, followed by a manic section of breathless
> vocalizing by the filmmaker.
>
>
> Horsey
> Frédéric Moffet
> Canada | 2018 | 9 | digital file
> “Horses are lucky, they’re stuck with the war same as us, but nobody
> expects them to be in favor of it, to pretend to believe in it.” An
> allegory recycling images from the past, still relevant to the present
> moment.
>
>
> Pattaki
> Everlane Moraes
> Cuba | 2019 | 21 | digital file
> In the dense night, when the moon lifts the tide, beings are trapped in
> the daily life of water scarcity. They are hypnotized by the powers of
> Yemaya, the goddess of the sea.
>
>
> It Matters What
> Francisca Duran
> Chile / Canada | 2019 | 9 | digital file
> Absences and translations motivate this experimental animation in an
> exploration of the methods and materials of reproduction and inscription.
> The inquiry is set within a framework of practical and critical human
> relationships with other-than-human species elucidated by the theorist
> Donna Haraway.
>
>
> Stitching the Future with Clues
> Allison Leigh Holt
> NY / CA | 2021 | 14 | digital file
> A neurodivergent-futurist manifesto, commissioned by the Ford Foundation
> Gallery for the exhibition Indisposable: Structures of Support After the
> ADA. Existing both as a single-channel film and as an immersive live
> performance, it asks viewers to consider feedback systems as theoretical
> frameworks, using animated diagrams, audio/video feedback processes, and
> expanded cinema techniques.
>
>
> Turkey Vultures
> Toney Merritt
> USA | 2020 | 1 | digital file
> Turkey vultures in flight this morning, 4/25/2020, over Toney Merritt’s
> home in Northern California.
>
> More info:
> https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=852331~316d2c96-7be3-4c1b-82b1-d1a7143bdb35;
>
> Supported by the National Science Centre, Poland, under the project "An
> animal is not a metaphor: Animals and human-animal relations in American
> experimental ecocinema" (grant no. UMO-2023/49/B/HS2/00653)
>
> --
> Kornelia Boczkowska, Ph.D.
> Assistant Professor
> American Studies Research Unit
> Faculty of English | Adam Mickiewicz University in Poznań
> https://www.researchgate.net/profile/Kornelia_Boczkowska
> https://orcid.org/-0003-0875-9209
>
> --
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> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>
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Re: [Frameworks] Luther Price Event -- March 28 -- Evanston, IL

[Stephen Anker]

Wonderful to hear that you're showing this, Patrick.
Tara was in San Francisco last night and gave a deeply moving presentation
of Luther's slides.
What great work!
My best, Steve

On Mon, Mar 25, 2024 at 1:50 PM Patrick Friel  wrote:

> Hello All!
>
> For those of you in/near Chicago/Evanston, the tour that Tara Nelson from
> the Visual Studies Workshop has been doing of Luther Price slides, in
> conjunction with the recent VSW book, will be taking place at Block Cinema
> (Block Museum, Northwestern Univ.) this Thursday, March 28, at 7pm. Free
> Admission. Two Super 8 films, CLOWN and JELLYFISH SANDWICH, will also be
> showing.
>
> I am working part-time, temporary at Block Cinema and was the lead
> organizer for this program.
>
> I hope some of you can attend.
>
> Here's the link:
>
>
> https://www.blockmuseum.northwestern.edu/cinema/2024/luther-price-new-utopia-and-light-fracture.html
>
>
>
> Best,
>
> Patrick
>
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>
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[Frameworks] Willie Varela

[Stephen Anker]

>
> Dear Framework Friends,
>
I just learned the sad news from his family, that pioneering Chicano
experimental filmmaker Willie Varela passed away on Saturday, February
24th. Willie made a large body of Super 8mm and digital work over a span of
more than fifty years, and he had a deeply passionate, total dedication to
the field.
His work ranged from subtle portraits of his family life, reflections on
his home town and dark narrative visions of contemporary culture.
 Willie lived in El Paso, Texas, for most of his life, and was rarely
able to travel, but he shared his work on many occasions in several cities
of the country.
 Those of us who knew him will miss him greatly.
 With best wishes to you all, Steve Anker

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>
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Re: [Frameworks] A rare screening: six films by me in St. Louis on February 10

[Stephen Anker]

Congratulations, Fred.
Have a great time in St. Louis.
My best, Steve

On Mon, Feb 5, 2024 at 8:52 PM Fred Camper  wrote:

> The first five are very early, around 55 years old, and the last, four
> minutes long, was made last year, on video, being shown in a film print.
> The venue is named after a very great and very underrated film by Orson
> Welles.  I will be present and introduce them.
>
>
> https://arkadincinema.com/event/six-by-fred-1967-2023-the-films-of-fred-camper-presented-in-16mm/
>
> That same night a show of my art opens at an art space in St. Louis,
> digital prints and two new films (one the same as the one showing at
> Arkadin) made on video and in that space shown on video:
> https://www.fredcamper.com/A/Exhibitions/240210Parapet.html
>
> Fred Camper
> Chicago
>
>
>
> --
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>
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[Frameworks] Cauleen Smith Screenings at PFA in Berkeley

[Stephen Anker]

Friends in the Bay Area are invited to three screenings I curated of films
by widely celebrated artist-filmmaker Cauleen Smith at the Pacific Film
Archive this Thursday through Sunday, February 8, 9 and 11.
All programs include short films that are rarely seen and the first, on
February 8, will also present her powerful feature, Drylongso.

Cauleen Smith—In Space, In Time
February 8–11, 2024
“Everything I make is just an offering. I think of my work as a
contribution to the histories of the Black diasporas and our powers of
invention, survival and generativity.” —Cauleen Smith
BAMPFA welcomes Los Angeles–based artist Cauleen Smith to present three
programs of rarely shown short films and a screening of her seminal,
recently restored feature Drylongso. Smith, one of the leading American
artists of this generation, defies easy categorization. From multimedia
installations to slide performances and a wide variety of films that move
between genres, Smith creates nuanced portrayals of African diaspora
culture and its troubled history in the United States, as well as the
issues facing Black women in contemporary life, all in her distinctive
voice. Unpredictable, witty, and always thought-provoking, Smith weaves
“everyday possibilities of the imagination” into improvisational,
jazz-inflected experiences that celebrate the freedom of creativity.
Throughout her career, Smith has concentrated on short filmmaking and has
created more than twenty short films since 1990. Ranging widely in style
and drawing upon experimental film tradition, third world cinema, science
fiction, and the music of Sun Ra and other great Black musicians, Smith’s
short films are poetic experiences that subtly interweave narrative and
personal and cultural themes. —Steve Anker

Thursday, February 8, 7 PM
Drylongso (1998)
Plus two short films, The Changing Same and Lessons in Semaphore
Cauleen Smith and Brandi Thompson Summers in Conversation
“An enduringly rich work of DIY filmmaking, Drylongso remains a resonant
and visionary examination of violence (and its reverberations), friendship,
and gender” (Film at Lincoln Center). “Drylongso, more than any other film
I know, examines the physical space and toughened, often-ramshackle beauty
of West Oakland. Smith thematizes the act of looking at the various spaces
of Black Oakland through her protagonist Pica (Toby Smith), a photographer
committed to the documentation of the most endangered urban species, the
Black male, before his systematic elimination. Smith takes us from the
upper-middle-class neighborhoods just off downtown to the run-down
postindustrial zones of the port. In so doing, she generates
inner-cityscapes whose rigorous depiction rivals the best of James Benning”
(Michael Sicinski, Radical Light).

Friday, February 9, 7 PM
Short Films: Black Echoes and Imperatives
Cauleen Smith and Steve Anker in Conversation
This is a program of ten films that weave together multiple styles into
portraits of people and places, both real and imagined, from renowned
activists and artistic visionaries to the filmmaker herself. Each can be
seen as a brief chapter in a larger project: an ongoing exploration of many
themes and concerns as expressed in Cauleen Smith’s own unmistakable voice.
Evident throughout is Smith’s singular spontaneity and wit, a flow of
haunting metaphors, and the courage to move seamlessly between different
forms of film and video technology. The program includes one of Smith’s
earliest and best-known films, Chronicles of a Lying Spirit (by Kelly
Gabron) (1992); the poignant and elegiac Crow Requiem (2015); the redolent
utopian testament Pilgrim (2017); and H-E-L-L-O (2014), which envisions a
revived New Orleans through a series of musical street tableaux.

Sunday, February 11, 2 PM
Short Films: Epochal Cultures – Chicago and New Orleans
Cauleen Smith and Steve Anker in Conversation
Cauleen Smith portrays two vital Black urban cultures, Chicago and New
Orleans, through several short fantasy and documentary films that are
largely imbued with local music and that focus on creative personalities
and locations vital to these great cities. Chicago is represented through
selections from Smith’s The Way Out Is the Way Two (2012), a cycle of
fourteen musical and philosophical pieces, including the astonishing
interventionist Space Is the Place (A March for Sun Ra) (2011). Smith’s
little-known, richly imaginative short feature The Fullness of Time (2008)
is a poignant evocation of New Orleans during the time following Hurricane
Katrina; it blends science fiction fantasy with musical street activism.
The program begins with Smith’s recent film, My Caldera (2022).
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Re: [Frameworks] Peter Herwitz Contact Information

[Stephen Anker]

Hi Paul,
I'm sorry to say that Peter passed away last September after a protracted
illness.
To the best of my knowledge, his films aren't available at this time,
although someone else on Frameworks might know otherwise.
Peter was a profoundly gifted artist and human being, and his absence is
being felt by all of us who knew him.
I hope that his remarkable, uniquely textured poetical films will resurface
soon for all of us to enjoy.
My best, Steve Anker

On Tue, Dec 26, 2023 at 11:30 AM Paul Attard 
wrote:

> Hey hey Frameworks,
>
> Hope you're all doing well today! And I hope this message finds you all in
> good spirits. I'm reaching out today in the hopes that some of you may have
> information or leads regarding the contact details of experimental
> filmmaker Peter Herwitz. I've been unable to find contact information for
> him and have wanted to reach out for some time now regarding his 8mm films.
>
> If any members of this forum have insights into how I might be able to
> reach out to Mr. Herwitz, or if you have any suggestions on where I could
> find such information, I would be immensely grateful for your assistance. I
> understand the importance of privacy, so please feel free to share any
> information privately if that is more comfortable for you.
>
> Thank you all for your time and consideration. I look forward to any
> guidance or assistance you can provide.
>
> Best regards,
> Paul
> --
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Re: [Frameworks] East Coast tour of A Synesthete's Atlas

[Stephen Anker]

Good work Eric!
Have a great time on this trip if we don't reconnect before you leave.
Best, Steve

On Fri, Sep 22, 2023 at 1:33 PM Eric Theise  wrote:

> Hi all,
>
> I've been manipulating projected digital maps in collaboration with
> musicians and sound artists as a form of expanded cinema since April 2022.
> It's especially rewarding to do these in a city where a cartography or
> geography conference is being held so I've assembled an East Coast tour
> to coincide with two. Detailed listings will appear in This Week,
> expcinema.org, and on social media but here's the rough schedule.
>
> You'll note gaps; some are intentional, some can't be avoided. I would be
> very interested in hearing from anyone interested in my giving a
> performance between 15 and 22 Oct in Pennsylvania, Ohio, or along the
> Eastern Seaboard. I'm also available for Eastern Seaboard and other dates
> after the Baltimore conference, that is, after 24 Oct and before 10 Nov.
>
> 1 Oct with The Asthmatic (one-woman band and sound collage artist), The
> Apohadion Theater, Portland, Maine. Kerry Laitala opens with three pieces!
>
> 2 Oct with The Asthmatic (one-woman band and sound collage
> artist), Russell Theatre, University of Southern Maine, Gorham, Maine.
> Lecture and performance. Sponsored by the Osher Map Library.
>
> 4 Oct. Brown University, Providence, RI. I'll speak to Ed Osborn's Time
> Deformations course. If a public performance with Ed materializes for the
> 5th, 6th, or 3rd, it'll be sponsored by The Map Center.
>
> 7 Oct with Veronica Mercedes Jurkiewicz and Carlos Santiago (strings) in a
> benefit for Fire Museum Presents, The Perch, Philadelphia, PA.
>
> 8 Oct with Jim Ryan (winds) and Darien Baiza (drums), Rhizome, Washington,
> DC.
>
> 14 Oct with Trē Seguritan Abalos (flutes and electronics), Creative Coffee
> & Supply, Pittsburgh, PA. This one's a co-production with Pittsburgh
> Sound + Image and is in conjunction with a talk I'll give at the North
> American Cartographic Information Society's annual meeting.
>
> 23 Oct with Darien Baiza (drums) and others TBD, Red Room/High Zero,
> Baltimore, MD. This one's in conjunction with the annual FOSS4GNA (Free and
> Open Source Software for Geospatial, North America) conference.
>
> For a brief glimpse into the work, see
> https://www.instagram.com/explore/tags/asynesthetesatlas/
> For longer excerpts and a schedule, see
> https://erictheise.com/performances/
> For more and longer excerpts, see https://vimeo.com/showcase/9472177
>
> Cheers, Eric
>
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Re: [Frameworks] Chic Strand

[Stephen Anker]

Thanks for the heads up, Dominic.

On Thu, Aug 31, 2023 at 5:26 PM Dominic Angerame 
wrote:

> A very belated obit of Chick Strand in the New York Times.
>
> https://www.nytimes.com/2023/08/31/obituaries/chick-strand-overlooked.html
>
> Dominic
>
> Another example of how West Coast filmmakers can easily be ignored by the
> New York Press!
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Re: [Frameworks] Patricia R. Zimmermann

[Stephen Anker]

I'm deeply sorry to hear about this, Scott.
Although I didn't know Patricia myself, her writing informed my own work
over the years.
A sad and premature loss.
My best, Steve

On Sun, Aug 20, 2023 at 5:53 AM Scott MacDonald 
wrote:

> Dear FRAMEWORKERS,
>
> The unexpected death of Patricia R. Zimmermann on August 17th shocked
> those of us who were close to her and is a major loss for the world of
> independent cinema and the field of Cinema and Media Studies. Zimmermann,
> the Charles A. Dana Professor of Screen Studies, Media Arts, Sciences and
> Studies at Ithaca College, was a charismatic college professor. a
> remarkably productive scholar, and for the past 19 years, the director of
> the Finger Lakes Environmental Film Festival (FLEFF).
>
> Zimmermann’s scholarship was broad ranging. *Her Reel Families: A Social
> History of Amateur Film* (Indiana, 1995) and the collection, *Mining the
> Home Movie: Excavations in Histories and Memory* (California, 2008), a
> collaboration with Karen L. Ishizuka, were breakthroughs in the exploration
> of vernacular cinemas.
>
> A long-time veteran of the Robert Flaherty Film Seminar, Zimmermann
> collaborated with Erik Barnouw on *The Flaherty: Four Decades in the
> Cause of Independent Cinema* (1995, a meta-issue of the journal *Wide
> Angle*, edited by Ruth Bradley); and with me, on *The Flaherty: Decades
> in the Cause of Independent Cinema* (Indiana, 2017), and *Flash Flaherty:
> Tales from a Film Seminar* (Indiana, 2021), a collection of 102 stories
> by Flaherty veterans, spanning the 7 decades of the seminar.
>
> During the 2000s, she explored new media and the continuing
> struggle of independent filmmakers, especially documentary filmmakers,
> within an evolving technological world, in *States of Emergency:
> Documentaries, Wars, Democracies* (2000); *Thinking Through Digital
> Media: Transnational Environments and Locative Places*, co-edited with
> Dale Hudson (2015); and *Documentary Across Platforms: Reverse
> Engineering Media, Place and Politics *(2019).
>
> Her essay on William Greaves’ *Ralph Bunche *project was a capstone for 
> *William
> Greaves: Filmmaking as Mission* (2021, eds., Jacqueline Stewart and
> MacDonald).
>
> Under Zimmermann’s leadership the Finger Lakes Environmental
> Film Festival grew from a regional event into a national and international
> event, expanding beyond film to feature new media, art installations and
> exhibitions, music, scholars across many disciplines, archives, writers,
> filmmakers, artists, musicians, activists, policy analysts, and public
> health professionals.
>
> Up until her death, Zimmermann continued to lecture widely, in
> North America and Europe. She helped establish and was Editor at Large for
> the on-line journal *The Edge*, published by the Park Center for
> Independent Media. She served on the editorial board of *Film Quarterly*,
> and, during the summer of 2023, was actively involved with independent
> film/photography exhibitors across central New York State working to build
> a network of sites where independent image artists could show their work.
>
> Zimmermann’s unabated, forthright energy and her kindness and
> camaraderie with colleagues across the world made her among the best-known
> and admired contributors to Cinema and Media Studies and to the expansion
> of opportunities to see and produce independent media. It is difficult to
> imagine a world without her.
>
>
> RIP, dear Patty.
>
> *Scott MacDonald*
>
>
>
>
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Re: [Frameworks] Kenneth Anger

[Stephen Anker]

Washington Post:
https://www.washingtonpost.com/obituaries/2023/05/24/kenneth-anger-hollywood-babylon-dead/

On Thu, May 25, 2023 at 12:05 PM Adam Hyman  wrote:

> 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" <
> frameworks-boun...@film-gallery.org on behalf of p...@re-voir.com> wrote:
>
>
>
> Sad news...
>
>
>
> Kenneth Anger, Experimental Filmmaker and ‘Hollywood Babylon’ Author, Dies
> at 96
> 
>
> variety.com
> 
>
> -- Frameworks mailing list Frameworks@film-gallery.org
> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
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Re: [Frameworks] A new book: Lost Highways, Embodied Travels & thanks

[Stephen Anker]

Dear Kornelia,
Congratulations on this achievement. Your list of films is vast, and
includes a remarkably thorough treatment of the subject. I hope it finds
its way into many schools and public libraries. My best, Steve

On Sat, Mar 11, 2023 at 10:13 AM Kornelia Boczkowska <
kornelia.boczkow...@gmail.com> wrote:

> Dear Colleagues,
>
> Apologies for the self-promotion, but I wanted to draw your attention to
> my book, Lost Highways, Embodied Travels: The Road Movie in American
> Experimental Film and Video, published by Brill in early February:
> https://brill.com/display/title/64181
>
> The book - which is the culmination of my grant-funded research carried
> out between 2017 and 2022 - draws on the tradition of experimental film
> catalogs and can hopefully serve our community as a critical guide to
> both lesser known/rarely screened and critically acclaimed films. My
> intention was to discuss a wide array of artist-made moving images (83 in
> total) and to specifically focus on works that are significantly
> underrepresented in film criticism and elsewhere.
>
> I’d like to thank everyone (also on Frameworks) who has offered me all
> kinds of assistance when I was working on this project, especially friends
> and colleagues from the SF Bay Area. Your support is greatly appreciated!
> Thanks to filmmaker and friend Dominic Angerame for giving me permission to
> use a still from his Premonition for the cover image.
>
> I’m attaching a 25% discount code on the book along with the ToC and
> Introduction, which outline the book's contents and structure. Also, if
> anyone's interested, I'll be happy to share some short excerpts from the
> book with you, just let me know. The blurb says:
>
> Often identified as one of the most genuine and enduring American film
> genres, the road movie has never been explored in the context of
> experimental filmmaking. To fill this gap, *Lost Highways, Embodied
> Travels* provides the first book-length study of over eighty unique and
> often obscure films and videos and situates them within the corporeal turn
> in American avant-garde cinema, so far mostly associated with body genres
> and sexually explicit films. Drawing on unpublished archival materials, the
> book offers a fresh take on both past and current practices of the
> experimental film community for scholars, students, makers and film buffs.
>
> My best,
>
> Kornelia
>
> --
> Kornelia Boczkowska, Ph.D.
> Assistant Professor
> Department of Studies in Culture
> Faculty of English | Adam Mickiewicz University in 
> Poznańhttps://www.researchgate.net/profile/Kornelia_Boczkowskahttps://orcid.org/-0003-0875-9209
>
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Re: [Frameworks] Louise Greaves

[Stephen Anker]

Sorry to hear it, Scott.
Another important piece of cinema history has now been removed from our
lives.
Steve

On Tue, Mar 7, 2023 at 6:42 AM Scott MacDonald 
wrote:

> Dear Frameworkers,
>
>I thought you might want to know that Louise Archambault Greaves,
> the widow of filmmaker William Greaves, passed away on Saturday, March 4th,
> at 90 years.
>
>Throughout their lives together, Louise worked with Bill to be sure
> their films got distributed, and was involved, during Bill’s life and
> afterward, in many ways with both the business and the creative side of
> their production company.
>
>  Symbio IFC marquee copy.jpg
> 
>
>She was hospitalized during her final weeks, and was desperate to
> get out of the hospital and back to work at being sure that their films
> would find their way to new audiences.
>
>For more information about Bill and Louise Greaves and their films,
> see williamgreaves.com (website recently designed by Su Friedrich).
>
>
>
> Rest in Peace, dear Louise.
>
> Scott
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[Frameworks] Cauleen Smith Retrospective

[Stephen Anker]

Dear Frameworkers,
I'm happy to announce a three program series of short films and a
performance by LA-based artist Cauleen Smith, sponsored by the Hammer
Museum and UCLA Film and Television Archive, that will be held on Thursday,
March 9, through Saturday, march 11.
Here are links to the events:
https://hammer.ucla.edu/programs-events/2023/cauleen-smith-space-time
https://www.cinema.ucla.edu/events/2023/cauleen-smith-in-space-in-time
Best, Steve Anker
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Re: [Frameworks] Book Launch: Una luz revelada. El cine experimental argentino.

[Stephen Anker]

Congratulations, Pablo! wonderful news. I look forward to reading it. My
best, Steve

On Fri, Sep 16, 2022 at 1:15 AM pablo marin <
anticipationoftheni...@gmail.com> wrote:

> [SPANISH POST]
>
> Queridxs amigxs,
>
> Espero que este correo les encuentre muy bien.
>
> Escribo para compartir que, luego de varios (largos) años, finalmente
> puedo anunciar el lanzamiento de *Una luz revelada*. *El cine
> experimental argentino*, un libro de ensayos personales que abarca las
> expresiones más radicales del cine argentino entre 1930 y la actualidad.
>
> "Todo libro como este —una colección de ensayos hecha sobre, con,
> alrededor o en compañía de algo—es una empresa a la vez didáctica y
> literaria. Pablo Marín describe imágenes y sonidos a la vez que define y
> redefine conceptos que se encontraban esparcidos, aventurando palabras
> donde antes había silencios. El autor traza mapas, muchas veces literales
> (recorriendo los lugares del país y del mundo donde ha sucedido la
> historia), otras veces temporales (con árboles genealógicos que delinean
> relaciones entre los cineastas del pasado y los del presente), con el fin
> de construir una lectura posible de una tradición que se remonta hasta las
> primeras décadas del cine. Como un guardián que vela a la vez por
> generaciones pasadas y futuras del cine experimental argentino, Una luz
> revelada encuentra las radicalidades subjetivas de su medio, aquellas
> experiencias estéticas del universo que hacen de este conjunto de películas
> particulares una parte fundamental de la historia."
> Lucía Salas.
>
> ¡Hoy mismo comenzamos con la preventa! El libro será editado tanto en
> Argentina como en España por *La vida útil*, y aquellas personas
> interesadas ya pueden ir reservando su ejemplar en el siguiente link
> .
>
> Un saludo cordial y perdón por el correo publicitario,
> Pablo
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Re: [Frameworks] Deserts and experimental film

[Stephen Anker]

*Alaya* by Nathaniel Dorsky, made with sands from different deserts of the
world.

On Sat, Nov 27, 2021 at 2:01 AM Albert Alcoz  wrote:

> Hello Frameworkers,
>
> Can someone recommend books, texts and films concerning the relation
> between the deserts and experimental film and video?
>
> Remembering some titles and searching through some film distributors I
> wrote a list of films and videos where the desert could be seen as the main
> topic. I'd like to receive some theoretical inputs about this topic like
> the book *The Desert in Modern Literature and Philosophy
> *
> by Aidan Tynan.
>
> *Hard Core* (1969) Walter De Maria
> *Altiplano* (2018) Malena Szlam
> *Desert* (1994) Bill Viola
> *Chott el-Djerid* (1979) Bill Viola.
> *Simón del desierto* (1965) Luis Buñuel
> *Fata Morgana* (1971) Werner Herzog
> *Sun Tunnels* (1978) Nancy Holt
> *Utopia *(1998) James Benning
> *Desert* (1976) Stan Brakhage
> *Desert Abstractions* (1997) Jon Behrens
> *Paradise Spring* (2013) Brigid McCaffrey
> *One Woman Waiting* (1984) Josephine Massarella
> *Falling.Desert.Syn* (1983-1985) Katerina Thonadaki
> *Brain in the Desert* (1990) Jay Rosenblatt, Jennifer Frame
>
> Any suggestion will be appreciated.
>
> Best,
> Albert Alcoz
> http://albertalcoz.com/ 
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Re: [Frameworks] American avant-garde filmmakers and exploitation

[Stephen Anker]

Nathaniel Dorsky and Jerome Hiler
Morgan Fisher
Betzy Bromberg

On Mon, Nov 8, 2021 at 1:18 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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Re: [Frameworks] First Look 20/21 Experimental Films at Museum of the Moving Image

[Stephen Anker]

Good work, Becca!
Wish I could be there.
Best, Steve

On Wed, Jul 28, 2021 at 7:48 AM Becca Keating 
wrote:

> This weekend Museum of the Moving Image will present experimental programs
> as part of its annual First Look Festival of New York Premieres.
>
> The programs will feature new work from *Ken Jacobs* (Double Wow and
> Other Films by Ken Jacobs
> 
> *)* and *James Benning* (Maggie's Farm
> ).
> Additionally, Are We Here, Together? Experimental Shorts
> 
> playing Saturday, Just 31st at 6:30pm presents new short works from 2020
> and 2021 with filmmakers Emily Vey Duke, Cooper Battersby, Talenda Sanders,
> Meg Rorison, Peter Burr, Roger Beebe and Ross Meckfessel in person.
>
> Full details on the programs are as follows:
>
> *Saturday, July 31st*
> 4:00pm Maggie's Farm
> 
>
> *Dir. James Benning*. United States. 2020, 84 mins. If landscape is a
> function of time as James Benning has held throughout his career, then this
> serene study of the parking lot, stairwell, corridors, and rear loading
> dock of the CalArts building where Benning has worked for 33 years
> comprises more than the sum of its 24 three-and-a-half-minute-long shots,
> divided sequentially into eight exteriors, eight interiors, and eight
> exteriors again, recorded in a single day. The suggested rhythm of the
> filmmaker’s own quotidian life over decades merges dreamily with the
> real-time rhythms of this institutional space, where sometimes the music of
> Bob Dylan and Linda Ronstadt is overheard. *New York premiere*
> *Tickets: $15 / $11 seniors & students / $9 youth (ages 3–17) / Free for
> MoMI members. Order online.
> *
>  *After
> your purchase, an electronic ticket will be sent via email. All seating is
> general admission. Please review safety protocols
>  before your visit.*
>
> *Saturday, July 31st*
> 6:30pm Are We Here, Together? Experimental Shorts
> 
>
> A mining of perception exploring landscapes, cityscapes, bodies,
> sexuality, feminism, anti-capitalism, and anti-authoritarianism in search
> of meaning, connection, the self, resolve, and greater ideals. These two
> programs of shorts conclude with a projector performance by Roger Beebe
> paying tribute to the filmmaker Norman McLaren.
>
> *Program 1: In These Times*
>
> *With Emily Vey Duke, Talena Sanders, and Cooper Battersby in person*
>
> Running time: approximately 60 mins.
>
>
> *We Carry with Us Our Mother * Dir. Olivia Ciummo. United States. 2019, 5
> mins. Planetary events and blood red landscapes blend with ethereal sounds
> as text leaves clues about difficulties with the mind and body. *New York
> premiere*
>
>
> *Garden City Beautiful * Dir. Ben Balcom. United States. 2019, 12 mins.
> One sunny afternoon in the Midwest, suspended in a time between, two
> commuters daydream about a life lived otherwise. *New York City premiere*
>
> *Zen Basketball*.
> Dir. Mike Hoolboom. U.S. 2020, 5 mins. In a series of simple frames, the
> often misunderstood practice of Zen takes shape as basketball bliss. Now in
> retirement, the greatest defensive player of the amateur leagues continues
> to practice on a remote island, far from the madding crowds. His techniques
> and dedication undergo continual refinement, revealed here in this
> startling exposé. *North American premiere*
>
>
> *Eastern State * Dir. Talena Sanders. U.S. 2019, 5 mins. *Eastern State*
> brings a found archive of decades of footage documenting the lives of the
> patients and employees of one of the oldest mental health institutions in
> the United States into dialogue with Barbara Loden's 1970 film Wanda.
> Through digital video corruption, VHS artifacting, stroboscopic effects,
> direct animation, and overlays, this collage film considers the fidelity of
> nonfiction media to lived experiences of isolation. Warning: flicker
> effects. *New York premiere*
>
>
> *Standing Forward Full * Dir. Alee Peoples. United States. 2020, 6 mins.
> A helter skelter is an amusement ride with a spiral slide built around a
> tower. Like this film, an exorcism attempt of an unrequited desire, itʼs
> either moving too fast or at a complete standstill. Disorienting but
> exciting. *New York premiere.*
>
>
> *Curious Fantasies * Dir. Jesse McLean. United States. 2019, 8 mins.The
> language and imagery related to celebrity perfumes (both descriptive and
> visual) are a starting point to think about consumer desires and the
> corruption