[Frameworks] Tomorrow, Friday at 19:00: Andreas Mueller-Pohle @ Directors Lounge

2012-02-16 Thread Klaus W. Eisenlohr 

SPECIAL DIRECTORS LOUNGE SCREENING:
Andreas Müller-Pohle in Person


Video still from Yumiko, 2002

[DL8]

The 8th Berlin International Directors Lounge, 2012
Naherholung Sternchen
Berolinastraße 7
10178 Berlin Ž Mitte

Friday, 17 February 2012 at 19:00


Directors Lounge presents the first theater 
screening with Andreas Müller-Pohle, featuring a 
whole range of his video work.


Water would seem to play an important role in 
Andreas Müller-Pohle's recent work, both in film 
and photography. It may also be a key for 
interpreting his work as a whole. In the case of 
Hong Kong Waters - the Asian metropolis is 
surrounded by water on three sides, the South 
China Sea and the Perl River Delta - the waters 
inspired a number of photo, video and sound 
works. 'Dark Waves,' 'Zig Zag' and 'Coasting' 
were conceived in Hong Kong. 'First of all, the 
water has to be surpassed in order to move around 
the city,' Müller-Pohle told me, and water 
embodies both dangers and chances for the city. 
The rising sea level, due to climate change, will 
put the city under threat. Large parts of the 
urban area have been reclaimed from the sea and 
will be in danger. However, the sea has also 
given the city a good trading position and a 
strategic importance.


http://www.riverproject.net

A very different work in the program is 'Araki at 
Work,' shot in 1996 in Japan, but first published 
in 2011, a few months ago. Here, Müller-Pohle is 
the documentary photographer with a small 
un-intrusive camera, and driven by his interest 
in documenting the creative process of an artist. 
Araki, well-known as a provocative and commercial 
photographer, seems to surpass limits of privacy 
when working, especially seen from a European 
perspective. However, the film also reflects and 
produces the strange relations between 'observer 
and observed,' the settings in which the 
photographer worked with a model. As the video 
possibly takes the viewer to the limits of 'moral 
habits,' without being pornographic or offensive, 
the viewer becomes the observer of the observer, 
maybe even reflecting back on his or her own 
position as spectator, or voyeur.


The program will include a discussion with 
Andreas Müller-Pohle. We thus expect an 
extraordinary evening that will be an eye- and 
ear-opener. And brains.

- Klaus W. Eisenlohr, Curator

Program
Entropia, screening version (SV) 6 min, 1996
Hiroshima, SV 29/3/01 3 min, 2002
Dark Waves, SV 2 min, 2011
Zigzag 8 min 19, 2011
Coasting 9 min 40, 2011
Yumiko 8 min, looped, 2002
Discussion with audience, moderated by K. W. Eisenlohr
Araki at Work, SV 12 min, 1996/2011

Read more . . .
http://www.richfilm.de/filmUpload/1-framesMuellerPohle.html
Directors Lounge Program
http://berlinlounge.tumblr.com/post/16504056609/andreas-muller-pohle-in-person
Directors Lounge Festival Program
http://berlinlounge.tumblr.com
Current exhibition flow, flow at Photo Edition Berlin
http://www.photoeditionberlin.com


--

Klaus W. Eisenlohr, Osnabrücker Str. 25, D-10589 Berlin, Germany



email:  kl...@richfilm.de
and film production:http://www.richfilm.de


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[Frameworks] Radiant Abjection - RSH exhibition FEB 29

2012-02-16 Thread Raymond Salvatore Harmon 

Hello all,

While most of you know me as a filmmaker I have been a painter for longer than 
I have been a celluloid  video addict. Since my paint work has greatly 
influenced my film work over the years I thought I would share this here. 

It's an online exhibition that will launch next Wednesday FEB 29.

Radiant Abjection
33 new paintings by RSH

http://raymondharmon.com/ra/

Feel free to share this on.

Yours,

RSH
raymondharmon.com
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[Frameworks] None Hardening Fixer to use with D-19

2012-02-16 Thread Kevin Timmins 

Just purchasing some chemicals to make D-19 in order to have a go at processing 
some of my Tri-X films.
I've got to the fixer stage and I've been told any non-hardening fixer will 
suffice. Are some fixers better to use with D-19 than others and does anyone 
have any recommendations? There seems to be so many! 
All the bestKevin
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Re: [Frameworks] None Hardening Fixer to use with D-19

2012-02-16 Thread Jason Halprin 
Why were you told to use non-hardening fixer? I'd only use it if I was going to 
be toning, tinting, or scratching the film later. If none of these are part of 
your plans, just use fixer w/ hardener.


Almost all fixers use ammonium thiosulfate and just vary according to potency, 
and therefore how long the film should be in contact with the chemistry. The 
developer will affect how the image looks, the fixer is just removing the 
unexposed silver halide, and if used correctly, won't have an affect on the 
qualities of your image.

-Jason Halprin




 From: Kevin Timmins on-on...@hotmail.com
To: FrameWorks frameworks@jonasmekasfilms.com 
Sent: Thursday, February 16, 2012 11:12 AM
Subject: [Frameworks] None Hardening Fixer to use with D-19
 

 
Just purchasing some chemicals to make D-19 in order to have a go at processing 
some of my Tri-X films.

I've got to the fixer stage and I've been told any non-hardening fixer will 
suffice. Are some fixers better to use with D-19 than others and does anyone 
have any recommendations? There seems to be so many! 

All the best
Kevin

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Re: [Frameworks] None Hardening Fixer to use with D-19

2012-02-16 Thread Ed Inman 
I agree. If negative processing, you can use non hardening fixer but the emulsion will be more prone to scratches.If you are reverse processing the only reason to even use fixer at the final stage is for hardener. A non-hardening fixer or plain hypo solution would serve no useful purpose--might as well just rinse it in water.Ed.-Original Message-
From: Jason Halprin 
Sent: Feb 16, 2012 12:45 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] None Hardening Fixer to use with D-19

Why were you told to use non-hardening fixer? I'd only use it if I was going to be toning, tinting, or scratching the film later. If none of these are part of your plans, just use fixer w/ hardener.Almost all fixers use ammonium thiosulfate and just vary according to potency, and therefore how long the film should be in contact with the chemistry. The developer will affect how the image looks, the fixer is just removing the unexposed silver halide, and if used correctly, won't have an affect on the qualities of your image.-Jason HalprinFrom: Kevin Timmins on-on...@hotmail.com To: FrameWorks frameworks@jonasmekasfilms.com  Sent: Thursday, February 16, 2012 11:12 AM Subject: [Frameworks] None Hardening Fixer to use with D-19   




Just purchasing some chemicals to make D-19 in order to have a go at processing some of my Tri-X films.I've got to the fixer stage and I've been told any non-hardening fixer will suffice. Are some fixers better to use with D-19 than others and does anyone have any recommendations? There seems to be so many!All the bestKevin 		 	   		  
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Re: [Frameworks] Rewind crank for Bolex.

2012-02-16 Thread David Tetzlaff 
If you can't find one, you can make one DIY with a rotary tool (Dremel-type) or 
a hacksaw. Take the Bolex to the hardware store and look/ask for steel tension 
pins. These are little cylinders with a slot down one side. (The slot is so 
they can be squeezed together a bit, forced into a hole, and then they spring 
back, securing themselves into the hole. But that's not what you want to do, of 
course.) 

Find the size that fits most closely (without forcing) into the diameter of the 
socket on the Bolex where the crank goes. It won't go in all the way, because 
it only has the slot on one side, and the Bolex socket has two pins. 

So, you need something to cut a notch opposite the slot so the part will go 
over and engage the other pin on the Bolex. Thus, the hacksaw or Dremel. (You 
actually don't need a hacksaw frame, just a blade would do, but you want to be 
careful not to cut yourself. Also, you can't just make a straight cut down 
because the slot needs to be wider than the kerf on the saw blade. So you'd 
have to wiggle it at different angles to get a wider hole.)

One that end fits into the socket on the Bolex, you just need something to grab 
the other end so you can turn it. A pair of pliers would do. Or you could cut 
another notch opposite the slot on the 'handle' end, and put a nail (dull down 
the point first) or some other piece of thin but firm metal in there to make a 
kind of T you can grab.

It's a quick job if you have a Dremel with the standard cutting blades, messy 
and annoying if you just have a hacksaw blade. And if you just have pliers to 
turn it, it'a lot more awkward than an actual Bolex crank. 

But it WILL backwind the film, so if you can't find a real Bolex crank there is 
an alternative FWIW.
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[Frameworks] Non-Hardening Fixers

2012-02-16 Thread Ken Paul Rosenthal 

Lauder brand will work just fine.

Ken
www.crookedbeautythefilm.com  (Academic)www.crookedbeauty.com  
(Public)www.kenpaulrosenthal.com   ___
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[Frameworks] E6 Processing

2012-02-16 Thread Ken Paul Rosenthal 

I've hand processed well over 300 cartridges of EK super 8 film in my life, and 
believe that many of the artifacts that have been questioned can be attributed 
to a combination of 3 factors:  1) inadequate washing resulting in a particular 
chemical remaining on the film too long 2) chemistry not fully contacting the 
film due to layers being too compressed (in the spaghetti method) or not the 
film being would too quickly/slowly (with the Lomo tank), and 3) crossover of 
chemistry from one step into another.
Keep in the mind that E6 kits (both the 4 x 1-liter and 7 x 5-liter versions) 
the 're-exposure' step is done chemically. So irregularities as noted above can 
result in anomalies such as brown spots, unintended image reversals, and not 
fully processed areas of the film surface. Many of the questions in recent 
threads are addressed to some extent in an article I wrote many years ago. You 
can find it here:  http://www.kenpaulrosenthal.com/antidote.htm  
If anyone would like a copy of the processing chart, which includes how long to 
extend each step upon subsequent rolls, feel free to contact me and I'll send 
it to you.
Ken
www.crookedbeautythefilm.com  (Academic)www.crookedbeauty.com  
(Public)www.kenpaulrosenthal.com   ___
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[Frameworks] PS: E6 Processing

2012-02-16 Thread Ken Paul Rosenthal 

The E6 Developing Time chart is actually attached to my online article...Ken

www.crookedbeautythefilm.com  (Academic)www.crookedbeauty.com  
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[Frameworks] Last Word: E6 Processing

2012-02-16 Thread Ken Paul Rosenthal 

Reviewing said Development Table at the end of my hand processing article:  
http://www.kenpaulrosenthal.com/antidote.htm  I recalled what I had figured out 
many (many) years ago regarding the amount of rolls that can be processed 
before the chemicals become exhausted. At the top of the chart, you'll see 
three columns labeled; '1st Third', '2nd Third', and '3'rd Third'. Per the 4 x 
1-liter kit's enclosed instructions, those kits were configured to process 9 
rolls of 35mm, 36-exposure E6 reversal film. So the first three rolls should be 
processed under the development times in the '1st Third' column, rolls 4, 5, 
and 6 should be processed under the development times in the '2nd Third' 
column, and so on. 
Regarding the comparative roll capacity of Super 8 using the same kit, I recall 
taping down flat a strip of 35mm, 36-exposure film, then cutting equal lengths 
of a 50-foot roll of super 8 film and laying them over the 35mm to compare the 
surface area--and low and behold, they were equivalent (give or take). So one 
can similarly process 9 rolls of super 8 film while respecting the capacity of 
the chemistry--according to the kit's instructions. Keep in mind that these 
kits were designed for processing spotless 35mm slides, rather than privileging 
those who are more experimental minded.
I always processed up to 15 rolls of Super 8, accounting for the exhaustion of 
chemistry by adding the same increment of development time increase per the 
chart for rolls 1 through 9. At some point, 'quality' becomes entirely 
relative, and I would just intuitively add even more time, based on what I 
observed/discerned from examining my results. Personally, the older the 
chemistry, the more I came to appreciate the resulting 'mess'.
Ken Paul 'Process is Content' Rosenthal
www.crookedbeautythefilm.com  (Academic)www.crookedbeauty.com  
(Public)www.kenpaulrosenthal.com   ___
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[Frameworks] Fellowships for Expense Paid Trip to Film Festival: APPLY NOW

2012-02-16 Thread Patricia R. Zimmermann 

Want an expense-paid trip to a film festival? 

If you are graduate student of color pursuing a PHD, then all it takes is a 
short letter and a CV to apply for a Finger Lakes Environmental Film Festival 
Fellowship. March 28-April 1, 2012. 

Festival theme is Microtopias...apply NOW...deadline is Feb 20...

More here: http://www.ithaca.edu/fleff/festivalfellow/

---
Patricia R. Zimmermann, Ph.D.
Professor, Cinema, Photography and Media Arts
Roy H. Park School of Communications
Codirector, Finger Lakes Environmental Film Festival
953 Danby Road
Ithaca College
Ithaca, New York 14850 USA
Office: +1 (607) 274 3431
FAX: +1 (607) 274 7078
http://faculty.ithaca.edu/patty/
http://www.ithaca.edu/fleff
BLOG: http://www.ithaca.edu/fleff10/blogs/open_spaces/
pa...@ithaca.edu


 Original message 
Date: Thu, 9 Feb 2012 04:10:57 +0100
From: frameworks-boun...@jonasmekasfilms.com (on behalf of Klaus W. 
Eisenlohr kl...@richfilm.de)
Subject: [Frameworks] º°¨¨°º The 8th Berlin International  Directors | Opening 
Party | Thurs., Feb. 9 º°¨¨°º  
To: Frameworks List frameworks@jonasmekasfilms.com

   IT KICKS OFF WITH A PARTY: [DL8] IS HERE!
   8th Berlin International Directors Lounge Film
   Festival hits **Sternchen**
   Opening party today from 20:00 !!!
   [DL8], the eighth annual DL (Directors Lounge, but
   you knew that) event parallel to the Berlinale, is
   sending out the call to all who want to welcome its
   coming in a party atmosphere peopled by filmmakers
   and spectators alike ** with a smattering of short
   film highlights from the coming program and with
   Biefke and her Kings of Spreedelta giving the beat
   to keep it all festive. There**ll be a bar to supply
   the libation, of course, and its all going down at
   the cult-spot Naherholung Sternchen, just behind the
   Kino International near Alex (literally a few steps
   from U-Bahn Schillingstr.).
   It starts at 20:00 (that**s 8:00 p.m., folks) and
   ends sometime well past the wee hours. Funny, weird,
   maybe perplexing short films from around the globe
   (two blocks** worth), people like you don**t get to
   meet every day, live upbeat swing and drinks
   a-plenty ** an event just right for a city in film
   fever. But different from the usual la-di-da.
   You**re coming out, right?

   The 8th Berlin International Directors Lounge [DL8]
   Feb. 9 - 19
   Naherholung Sternchen, (behind the Kino
   International / Rathaus Mitte)
   U Schillingstrasse | Berolinastr. 7, 10178 Berlin
   Daily from 6pm, no admission till 10pm

   OPENING RECEPTION: Thurs, Feb. 9, 8pm
   find us on google maps

   the daily program
   Hope to see you all!
   Team DL

   The 8th Berlin International Directors Lounge will
   take place from Feb. 9 - 19. alongside to the Berlin
   International Festival. Expect video art and
   experimental film from all flavors and parts of the
   world. Several curated programs, specials,
   accompanied by DJs and VJs ensure eleven
   cosmopolitan days and nights.

   --
   Team Directors Lounge

   www.directorslounge.net

   hug us on facebook
   or join the fb group

 --

   Klaus W. Eisenlohr, Osnabr**cker Str. 25, D-10589
   Berlin, Germany

   email:  kl...@richfilm.de
   and film production:
   http://www.richfilm.de

   phone:int.- 49 - 30 - 3409 5343
   (BERLIN)

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[Frameworks] Steve Matheson contact

2012-02-16 Thread Vera Brunner-Sung 
Hello out there,

Does anyone have contact information for Steven Matheson they can share?
Please contact me off list.

Thank you,

Vera Brunner-Sung
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Re: [Frameworks] Post Last Word: E6 Processing

2012-02-16 Thread nicky . hamlyn 
Are these the same kits we're talking about? You mentioned re-exposure at one 
point, but the current Tetenal four bath one litre kit: 1st Dev, Blix, 2nd Dev, 
Stabiliser, does not require re-exposure. This is the one I have used to do up 
to six rolls of Super 8 perfectly. Tetenal don't recommend extending dev time 
beyond the volume the kit is stated to be able to do. You could say well they 
would day that wouldn't they?, however...  

NIcky.

 

 

 

-Original Message-
From: Ken Paul Rosenthal kenpaulrosent...@hotmail.com
To: Frameworks Postings frameworks@jonasmekasfilms.com
Sent: Thu, 16 Feb 2012 22:36
Subject: [Frameworks] Last Word: E6 Processing


Reviewing said Development Table at the end of my hand processing article:  
http://www.kenpaulrosenthal.com/antidote.htm  I recalled what I had figured out 
many (many) years ago regarding the amount of rolls that can be processed 
before the chemicals become exhausted. At the top of the chart, you'll see 
three columns labeled; '1st Third', '2nd Third', and '3'rd Third'. Per the 4 x 
1-liter kit's enclosed instructions, those kits were configured to process 9 
rolls of 35mm, 36-exposure E6 reversal film. So the first three rolls should be 
processed under the development times in the '1st Third' column, rolls 4, 5, 
and 6 should be processed under the development times in the '2nd Third' 
column, and so on. 


Regarding the comparative roll capacity of Super 8 using the same kit, I recall 
taping down flat a strip of 35mm, 36-exposure film, then cutting equal lengths 
of a 50-foot roll of super 8 film and laying them over the 35mm to compare the 
surface area--and low and behold, they were equivalent (give or take). So one 
can similarly process 9 rolls of super 8 film while respecting the capacity of 
the chemistry--according to the kit's instructions. Keep in mind that these 
kits were designed for processing spotless 35mm slides, rather than privileging 
those who are more experimental minded.


I always processed up to 15 rolls of Super 8, accounting for the exhaustion of 
chemistry by adding the same increment of development time increase per the 
chart for rolls 1 through 9. At some point, 'quality' becomes entirely 
relative, and I would just intuitively add even more time, based on what I 
observed/discerned from examining my results. Personally, the older the 
chemistry, the more I came to appreciate the resulting 'mess'.


Ken Paul 'Process is Content' Rosenthal

www.crookedbeautythefilm.com  (Academic)
www.crookedbeauty.com  (Public)

www.kenpaulrosenthal.com

  
 
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Re: [Frameworks] MILLENNIUM Film Workshop Open Screening 2/17

2012-02-16 Thread john porter 
Thanks Stephanie,
I've been posting Millennium's monthly Open Screenings on my home page:
http://www.super8porter.ca/#nycfeb
Open Screenings are the BEST screenings!
And Millennium's have been more often and more enduring than anywhere else in 
the world! Bravo!
I showed one of my super 8 films there in 1977. Howard Guttenplan was running 
it and he liked my film, which meant a lot to me. I didn't know him then, I 
only knew that he must've seen a lot of films.

And Millennium's Open Screenings can show more film formats than most other 
places can. Bravo again! Can you really show standard 8? That's not mentioned 
on Millennium's website.
Good luck tonight!
John Porter, Toronto



--- On Sun, 2/12/12, Stephanie Vevers svev...@gmail.com wrote:

 From: Stephanie Vevers svev...@gmail.com
 Subject: [Frameworks] MILLENNIUM Film Workshop / Open Screening for all, 
 FRIDAY 2/17, 8:00pm / THURSDAY 2/16: Meeting; Optical Printer Workshop.
 To: frameworks@jonasmekasfilms.com
 Received: Sunday, February 12, 2012, 9:25 PM
 All
 are invited to bring a film or work-in-progress to a
 Millennium Open Screening for all, Friday Feb 17, starting
 8:00pm; bring your own refreshments, we provide the
 projectors!  (Super 8, standard 8, 16mm, DVD, miniDV,
 vhs)
 
 Also,
 THURSDAY, Feb 16, starting at 7:30, will be another Meeting
 open to all, to inform, discuss and plan for upcoming
 programming and outreach.
 
 An Optical Printer Workshop is coming up very soon, so please
 email cin...@millenniumfilm.org,
 or call Millennium (212) 637-0090 to reserve a spot!
 
 MillenniumFilm.org
 66 East 4th Street, NY, NY 10003.  
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