Re: [Frameworks] 35mm film will be dead by 2015 and News Corp
Last night I watched Stalker digitally projected from a DVD and noticed two things: the stillness and length of the shots combined with the movement of the frame confused the MPEG codec, causing everything to digitally wiggle, and that the "rainbow effect" was extremely prominent and distracting in still shots where the viewer is encouraged to investigate the space of the shot. It was disturbing to me that the style of the film was incompatible with the technology used to display it. On Mon, Nov 21, 2011 at 10:49 PM, Steven Gladstone < ste...@gladstonefilms.com> wrote: > On 11/21/11 9:24 PM, Steven Gladstone wrote: > > I think Imax may use some other system to > > transport the film > > I meant IMAX projectors. > > -- > Steven Gladstone > New York Based Cinematographer > Gladstone films > Blog - http://indiekicker.reelgrok.com/ > http://www.blakehousemovie.com > http://www.gladstonefilms.com > 917-886-5858 > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 35mm film will be dead by 2015 and News Corp
On 11/21/11 9:24 PM, Steven Gladstone wrote: > I think Imax may use some other system to > transport the film I meant IMAX projectors. -- Steven Gladstone New York Based Cinematographer Gladstone films Blog - http://indiekicker.reelgrok.com/ http://www.blakehousemovie.com http://www.gladstonefilms.com 917-886-5858 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 35mm film will be dead by 2015 and News Corp
On 11/18/11 2:38 PM, Aaron F. Ross wrote: > The rotating shutter was > developed precisely because of the eyestrain of flicker, and it's > only a partial solution. Actually, the rotating shutter was invented in camera to cover the film as it was transported, thus not having a smeary image. It has noting to do with eyestrain. Flicker at 24fps can be quite disturbing, which is why (film) projectors have a two or three bladed shutter, the higher the flicker rate the less noticeable to the conscious mind, the less distracting. The less distracting, the more likely to allow the audience to slip into "Cinema" watching (my interpretation of the process) This is not an endorsement for higher and higher frame rates of projection or capture. Some cameras have a black stripe that bisects the mirror shutter of the camera which increase the flicker rate to the cameraperson's eye while shooting. Thus providing a less jarring image to the cameraperson. The first motion picture cameras had what was known as a focal plane shutter, and you viewed the image by focusing through the base of the film. So I've been told. With 3 strip technicolor cameras this seems highly impossible to create, with the single strip color film an anti-reflective backing was added to the film, making it impossible to focus on the image through the back of the film anyway. Viewing was achieved by means of a Parallax viewfinder system. For reflex viewing a beam splitter arrangement, was used. Both of these systems provide a flicker free image to the camera operator. Arriflex invented the mirror reflex shutter, using the mirror to both divert the image to the viewing system while the film is being transported. Pretty much all film cameras and projectors have a rotating shutter for when the film is transported I think Imax may use some other system to transport the film. The Eclair ACL did have a reciprocating mirrored shutter - but that was only for viewing, the actual shutter for exposing the film was a rotating focal plane shutter. I hope this clears up the confusion about the origins of the rotating shutter. -- Steven Gladstone New York Based Cinematographer Gladstone films Blog - http://indiekicker.reelgrok.com/ http://www.blakehousemovie.com http://www.gladstonefilms.com 917-886-5858 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] CROSSROADS 2012: call for entries...
SAN FRANCISCO CINEMATHEQUE announces CROSSROADS 2012 May 17–20 at San Francisco’s Victoria Theater and the San Francisco Museum of Modern Art CALL FOR ENTRIES San Francisco Cinematheque seeks submissions of recent films and videos for its third annual festival of moving image art—CROSSROADS 2012. Occurring May 17-20, 2012, at the San Francisco’s Victoria Theatre and the San Francisco Museum of Modern Art, the festival will showcase new works of emerging and established filmmakers in the avant-garde along with a number of special presentations and events. Cinematheque is seeking submissions of compelling non-commercial, artist-made work of all genres and durations. For complete entry details, including a downloadable entry form, please see: http://www.sfcinematheque.org/#/news/201205170/ ENTRY GUIDELINES — Submitted works must have been completed after January 1st, 2010. — Include one submission form with each entry. — All submissions must be on DVD—clearly labeled with the film title, filmmaker name(s), contact telephone number and email. (Please email inquiries regarding non-DVD submission formats.) — Entry fee: $10 for each individual film (postmarked by Jan. 10, 2012) $15 for each individual film (postmarked by Feb. 10, 2012) (walk-in submissions accepted) Entry fee is waived for Cinematheque members. — Please make checks or money-orders payable in U.S. currency to: SAN FRANCISCO CINEMATHEQUE or send payment via PayPal to: cash...@sfcinematheque.org — All entrants will be notified on receipt of submission(s). Cinematheque would prefer to keep all submitted preview materials for future programming consideration. If you would like your entries returned, please include a pre-paid, SASE with your submission as well as a note to this effect. — For inquiries about CROSSROADS 2012, please email festi...@sfcinematheque.org CINEMATHEQUE WILL PAY RENTAL FEES FOR ALL WORKS SCREENED AT THE FESTIVAL. For complete entry details, including a downloadable entry form, please see:http://www.sfcinematheque.org/#/news/201205170/___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 35mm film will be dead by 2015 and News Corp
In a message dated 11/21/2011 1:24:21 P.M. Pacific Standard Time, televis...@hotmail.com writes: > So, the flicker of analog celluloid projection is a desirable > feature? Get real. The fact that the screen is black half the time is > somehow a good thing? That's preposterous. Well, it's an interesting thing.___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 35mm film will be dead by 2015 and News Corp
Your ignorance of the factors involved in the processing of cinematic information is astounding. Tim > So, the flicker of analog celluloid projection is a desirable > feature? Get real. The fact that the screen is black half the time is > somehow a good thing? That's preposterous. > Aaron > --- > > Aaron F. Ross > Digital Arts Guild > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Value systems
I think value is a deeply significant question at this moment. How do we define value? Where do we find value in works? Is it manifest in 'significant form'? Is it attached to Art's ability to present (continuing to trace the Heideggerian concepts) a clearing where we experience Truth and a fleeting glimpse at World, or more commonly, do we measure value as commodity exchange value? Certainly, when we speak of the cinema it is easy to find evidence to the latter. What is the front line of "film criticism", that initial pass at value judgment in the media? Certainly we can bemoan criticism's death rattle, or even wax nostalgic at its wake, but this may miss the point that it is alive--just not well. Unfortunately, I think the Box-Office Champion of the weekend acts as our critical arbiter of value. After the box scores, then the evaluative apparatus turns to diagnoses of where potential audience was lost. Art, in this instance, is but an instrumental tool toward the accumulation of capital, making it a means and not an end. But this seems to reduce question of value to ideology critique at the pedestrian level of acceptance/resistance to the commercially popular. Debating freedom of expression can be of import, for it helps us to understand value resides in places other than commercial exchange. But in this light, we must be careful not to equate freedoms of expression with some form of social justice (I'm not asserting Bernie was doing this), which may have allowed value to become equated with commercial exchange. Certainly we live in an era where the acceptable 'styles' one chooses to work in have never been more vast, but the freedom of this creative landscape is simply a free-market principle. What do our works accomplish? So there is, most likely, a need to tie aesthetics to politics, but also a politics to ethics. Here I would like Bernie to expand on what he means by "professional responsibility". I am in partial agreement that this is not a question of avant-garde relevance, mostly for I believe that any A-G is difficult to tease out of our free-market setting. How can we recognize an avant-garde or counter-movement, which has been historically underappreciated, when our arbiter to recognize value is popularity? It is difficult to tell the AG counter-movement from the bad (yes, this a weak assertion). Performance art, in my line of argument is where we find our rose-tinted glasses. We are reluctant to admit how lost we are concerning questions of value, and instead we describe our culture as one of Enjoyment. This enjoyment is rooted in novel experiences, with novelty being, maybe, the one core value of the modern, and therefore performance in the gallery is a novel 'experience' for most. What value do we find in Marina Abramovic sitting motionless in the chair, or conversely playing mumbly-peg (The Artist is Present vs Rhythm 10)? Certainly, for those who commit themselves to a process of interpretation, deeper meaning structures can be found, but is this interpretive work being done by an experience culture? And yes, the arts administrators value this work, because given its 'spectacular' novelty it raises admissions. Said differently, are Impressionist and Vermeer exhibitions mounted for the quality of the work, or the block-buster attendance? Do we attend film festivals for the work, or participation in a scene? To take the example of Sundance, it would seem that programming once centered on the work has given way to in support of a scene (but this may be an ad hominem assertion). So how do we go about re-valuing our values? Is it in a recognition that art is an autonomous creative space wholly separate from life, or rather that it is deeply implicated in how we live our lives? If that is the case, what would that art look like? Is it possible to make work that is both political, and/or ethical which is not merely a comment on its finite contextual moment destined to become dated in a decade or a generation at most? Damon. The point I was making in my question followed on from Fred’s posting that included: It seems to be entirely acceptable and unquestioned on this list to post that some or all forms of video projection look like crap ... As a format for presenting film, it is, of course, imperfect, as I myself argued almost three decades ago, though that was in the days of VHS, a lot worse than more recent formats. Assumptions about ‘quality’ need to be challenged. Issues around ‘quality’ are based upon value systems which in themselves operate ideologically. Can the politics be seperated from the aesthetics? This seems entirely relevent as we watch evictions of the Occupations - and that doesn’t mean I’m advocating literalism - just putting my original question into context. Rob On Nov 21, 2011, at 10:14 AM, Jona
Re: [Frameworks] Value systems
The point I was making in my question followed on from Fred’s posting that included: It seems to be entirely acceptable and unquestioned on this list to post that some or all forms of video projection look like crap ... As a format for presenting film, it is, of course, imperfect, as I myself argued almost three decades ago, though that was in the days of VHS, a lot worse than more recent formats. Assumptions about ‘quality’ need to be challenged. Issues around ‘quality’ are based upon value systems which in themselves operate ideologically. Can the politics be seperated from the aesthetics? This seems entirely relevent as we watch evictions of the Occupations - and that doesn’t mean I’m advocating literalism - just putting my original question into context. Rob On 20/11/2011 16:47, "Bernard Roddy" wrote: Oh and . . this encounter with a provocative work tends to draw ALL attention to it AS provocation, to the detriment of the work. That's the real price of a restrictive environment. It' s not just a price paid in terms of the interest new work generates. It's certainly not just a question of having some kind of political "impact." The greatest price is that of interpretation. You get really dumb fixations on work if there isn't a serious investigation of what gets passed off as "provocation." Bernie From: Bernard Roddy To: "frameworks@jonasmekasfilms.com" Sent: Sunday, November 20, 2011 8:06 AM Subject: [Frameworks] Value systems Value as a reference today strikes me as dated. It draws on a period when art as commodity was an interesting question. Restrictions on freedom of expression are back. It's time to examine the renewal of conservativism in media art. To propose a term for critical study: professional responsibility. Not the debate between modernist and post-modernist experimental film. Not the relevance of "avant-garde." Performance art's history is really to the point. We see a transformation of performance art's provocations into not only gallery-safe work but a kind of artistic administrator's ideal. Apologies for the obscurity. Bernie ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. Unless it specifically states otherwise this email does not form part of a contract. Any views or opinions presented are solely those of the author and do not necessarily represent those of University College Falmouth. You should carry out your own virus check before opening any attachment. University College Falmouth accepts no liability for any loss or damage which may be caused by software viruses ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Artprojx Cinema: Art Video, Art Basel Miami Beach, Nov 30 - Dec 4 2011 - invite
Dear Frameworkers - if anyone is in Miami - you are welcome to join us - these Art Video screenings are Free to all. Best wishes David Artprojx Cinema: Art Video, Art Basel Miami Beach, Nov 30 - Dec 4 2011. David Gryn director of London's Artprojx has organised and curated Art Video, featuring film and video works by today's most exciting international artists, submitted by the galleries of Art Basel Miami Beach. Specially organized and commissioned, for the 10th Edition of the Fair, Art Video will be screened for the first time in the SoundScape Park, on the 7,000-square-foot outdoor projection wall of the Frank Gehry designed New World Center, as well as within five viewing pods inside the Miami Beach Convention Center. Artists selected include: Cory Arcangel, Yael Bartana, Pierre Bismuth, Slater Bradley, Brice Dellsperger, Tracey Emin, Kota Ezawa, Dara Friedman, Theaster Gates, Katy Grannan, Neil Hamon, Alex Hubbard, Christian Jankowski, Cristina Lucas, Ryan McGinley, Marilyn Minter, Laurel Nakadate, Rashaad Newsome, Hans Op de Beeck, Martha Rosler, Matt Saunders, Lorna Simpson, Penny Siopis, Clemens von Wedemeyer. See the full programme at http://www.artbaselmiamibeach.com -- David Gryn / Artprojx artpr...@gmail.com http://www.artprojx.com http://davidgryn.wordpress.com +447711127848 <>___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Value systems
I don't see value as a dated concept, although commodity value is irrelevant. For me, a work has value when it provokes thought, when it creates a space to contemplate / meditate on (in the Heideggerian sense) the world (as experienced, mediated, related, etc.). Although personally I find formalist, materialist work very appealing, this is contained within an idea of art as thinking tool over art as object.I do agree, like most people probably, that large galleries and museums do play safe, but haven't they always? I always aim for artist-run spaces that engender a much more widely critical and contextual discourse. 20th century theories of art are not yet dated and irrelevant, to me at least. There was a lot of it, and we are still wading through it all, trying to untangle it and assess its relevance. There has to remain a strand of early 21st century art and theory that constitutes a critical pause for breath. --- On Sun, 20/11/11, Bernard Roddy wrote: From: Bernard Roddy Subject: [Frameworks] Value systems To: "frameworks@jonasmekasfilms.com" Date: Sunday, 20 November, 2011, 14:06 Value as a reference today strikes me as dated. It draws on a period when art as commodity was an interesting question. Restrictions on freedom of expression are back. It's time to examine the renewal of conservativism in media art. To propose a term for critical study: professional responsibility. Not the debate between modernist and post-modernist experimental film. Not the relevance of "avant-garde." Performance art's history is really to the point. We see a transformation of performance art's provocations into not only gallery-safe work but a kind of artistic administrator's ideal. Apologies for the obscurity. Bernie -Inline Attachment Follows- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] CFP/Films ASIAN CINEMA STUDIES SOCIETY CONFERENCE
*ASIAN CINEMA STUDIES SOCIETY CONFERENCE * *MARCH 18-20, 2012* *THE UNIVERSITY OF HONG KONG* This meeting of the Asian Cinema Studies Society welcomes paper, poster, workshop and panel proposals covering all aspects of Asian film and media. Please send proposals of 200-300 words as RTF or WORD attachments to Dr. Natalie Wong at n...@hku.hk. For all proposals, be certain to include the title, author(s) name(s), institutional affiliation, mailing address, and email contacts, as well as a brief biography of each contributor. For panel, workshop, and group submissions, be certain to provide a brief description (100 words) of the contribution of each participant. Sessions will be 1 ½ hours in duration, and time limits will be strictly enforced. *CALL FOR PAPERS DEADLINE: December 31, 2011* Notifications of acceptance will be sent out by the end of January 2012. We regret that we cannot offer any funds for travel or accommodation. However, there will be NO registration fee for those presenting papers, serving as panel chairs, or participating in workshops, poster sessions, or in any other official capacity. Registered guests are welcome to attend as well; however, some conference events/meals may only be available for those presenting papers or serving in other official capacities. Program committee members: John A. Lent (Chair of ACSS), Tan See-Kam (Macau), Natalie Wong (HKU), Staci Ford (HKU), Mirana Szeto (HKU), Winnie Yee (HKU), Ang Sze-wei (HKU), Gina Marchetti (HKU). Proposal submissions & inquiries: Dr. Natalie Wong at n...@hku.hk Visit our website at http://www.hku.hk/complit/acssc/ *About the Asian Cinema Studies Society (ACSS):* Inaugurated in 1984, ACSS has been dedicated to fostering research in Asian film and related media. It publishes *Asian Cinema* twice yearly, and features all types of Asian film, including full-length movies, documentaries, animation, and experimental. Nine ACSS conferences have been held since 1988, including five in the United States and one each in Australia, Canada, South Korea and China. Many of the papers presented at ACSS conferences have been published in Asian Cinema and other journals and books. For more information on ACSS and for membership details, visit its website at http://astro.temple.edu/~jlent/asiancinema/acss.html *About the Centre for the Study of Globalization and Culture:* The Center for the Study of Globalization and Cultures (CSGC), set up in 1999, is an interdisciplinary center based in the Department of Comparative Literature. The focus of its work is on issues of culture and globalization with special reference to Asia, China and Hong Kong. Major research themes include: the cultures of capitalism; global flows of culture, media and technology; cities and globalization; new communities, publics, and identities; and post-colonialism and neo-liberalism. For more information on CSGC, visit its website at http://www0.hku.hk/complit/csgc/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
