Re: [Frameworks] books about Film and Perception
thanks a lot of material to start. ciao 2012/2/21 Francisco Torres fjtorre...@gmail.com The Cinematic Apparatus edited by De Lauretis ___ 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] 30 – 30 Vision / Thurs March 1st @ 7pm
At 7pm on March 1st, 2012, for the exhibit, Hospitality, Round Robin Collective will present 30-30 Vision, a program of experimental films and videos exploring medicine's charged relationship to the body. Showing work by both mature and emerging filmmakers, the works delve into fantasies surrounding photography's proximity to rational study, the social structures control, and left-over institutional spaces of empty corridors and rooms. Filmmakers Barbara Hammer, Caitlin Berrigan, Katherin McInnis, and Mary Billyou will be in attendance for conversation afterward. Program is as follows: Vital Statistics of a Citizen, Simply Obtained,Martha Rosler, 1977 (shown as a loop) 1-9,Mary Billyou, 2008 Concoctions, Caitlin Berrigan, 2004 Underexposed: The Temple of the Fetus, Kathy High, 1994 Shelter,Katherin McInnis, 2012 Sanctus,Barbara Hammer, 1990 TRT: 105 mins. This screening is supported by a grant from NYSCA's Electronic Media Presentation Funds and is sponsored by Union Docs. Hospitality is a current exhibit of the Round Robin Collective, at Arts @ Renaissance, a new art space of St. Nick's Alliance in Williamsburg, located in the former Greenpoint Hospital. Open hours during events only. Located at 2 Kingsland Ave., Garden Level, Brooklyn, four blocks from the Graham Ave. L Stop. http://marybillyou.com/___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] First person narrative
Friday, February 24, 2012, 1:40:54 PM, one wrote: Thursday, February 23, 2012, 12:54:38 PM, one wrote: I'm guessing from the OP that only Ferris Bueller counts as what Gene is asking for, the others being examples of interior monologues. ... * interior non-diegetic: We only hear the characters via voice-over, but they are talking to US, breaking the 'fourth-wall' (Example: Sunset Boulevard, The Opposite of Sex) Actually, Clockwork Orange counts here too. Alex is not talking to himself in filmic time, he's narrating in past tense to us (or rather, to an audience addressed as O My Brothers who diegetically may be interpreted as a post-hospital new set of droogies, but really reduces to us, audience-implicationwise). Actually to be more precise, I was thinking that CO is in the same mode as Sunset Blvd ... which it is, but neither of them satisfies Gene's original request, because they're in *past tense*. I haven't seen The Opposite of Sex so I can't tell if it belongs What characteristics might distinguish a *first person present tense* voice *NOT* to be an interior monolog? I mean to say, couldn't *any* of the first be interpreted as the second? -- Jim Flannery j...@newgrangemedia.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] First person narrative
Robert Nelson's Bleu Shut which references the clock in the corner of the screen, so the viewer will know how much time is left in case he or she is bored. Christopher Maclaine's The End also addresses the viewer in the present tense. But these two examples may be more 2nd person than 1st person because you is used more often than I. Though in the Christan Metz sense, I is not the filmmaker speaking but the film itself. Then of course there are Peter Rose's Secondary Currents and Michael Snow's So Is This in which the film is speaking in the first person present tense as an utterer of film-speech and there is no interior monologue but only direct monologue, even if these ramble and take tangents, etc. -Pip At 15:03 -0800 24/02/12, Jim Flannery wrote: What characteristics might distinguish a *first person present tense* voice *NOT* to be an interior monolog? I mean to say, couldn't *any* of the first be interpreted as the second? ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] First person narrative
Actually to be more precise, I was thinking that CO is in the same mode as Sunset Blvd ... which it is, but neither of them satisfies Gene's original request, because they're in *past tense*. I haven't seen The Opposite of Sex so I can't tell if it belongs. It's grammatically past tense too, though like a lot of narration in fiction it's restricted. That is, though the narrator would seem to be speaking from a point in time well beyond the events being depicted, they rarely reveal any 'spoilers' any sense that they know what's coming. (Gene has clarified that his interest is not in fiction at all, but we can still talk about it...) What characteristics might distinguish a *first person present tense* voice *NOT* to be an interior monolog? I mean to say, couldn't *any* of the first be interpreted as the second? Well, there's two different things there. My little four-part distinction didn't consider the question of tense. So if you add all of the different temporal relationships direct address might have to the unfolding events (which themselves might or might not be in chronological order) there'd be a lot more categories. But to answer the specific question, 'first person, present tense' would NOT be 'interior monolog' in any case where we see the character speaking. That is, what 'interior monolog' is interior to is the characters' mind. This does not necessarily mean the characters' are 'talking to themselves.' Alex is not addressing an actual group of Droogs. He's imagining an audience. But it's not clear where and when he is doing so, or whether this space/time is within the diegesis or the character has been plucked out of his fictionsl world to some meta-position via 'the miracle of cinems'. In 'Taxi Driver' Travis's monologues would seem to be entries he's recording into a diary -- (which makes them a mixture of present and past tense, FWIW). So, anyway, Ferris Beuller and Moonlighting are not interior monologs, nor are Shakespearean asides and so forth. Not that this distinction necessarily makes a difference. Exterior monologs may serve the same function as interior monologues -- obviously traditional theater doesn't employ disembodied voice-over, so characters may speak their thoughts as a convention. Hamlet's soliloquy is external diegetic. In contrast, Ronnie's monolog at the beginning of Act 2 of The House of Blue Leaves is external non-diegetic because he is breaking the fourth wall and speaking to us as an audience. There's not much external-monolog in fiction films, since voice-over is easier to do and a well established convention. So deviating from that convention, as Ferris Bueller does, signifies something or serves some additional function, though I don't know what, whether there's any consistency from film to film, or whether it's particularly important in the big scheme of things. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Digital Playback for Festivals, Etc.
Just some notes to add to David's suggestions, I've done pretty extensive research into this area and have found two great solutions. One is very cheap, the other, expensive. As David mentioned, the first is to stream the file off of a thumb drive through a Blu-ray player. This method's ceiling is blu-ray quality (1920 x 1080 ≈ 30 mbps) I've found that an H.264 codec with a (.mp4) container is the most universally recognizable and reliable file type (as it is one of the two compression methods blu-ray discs can use). You can use the free program, *MPEG Streamclip http://www.squared5.com/* to transcode the file into a H.264 (.mp4) The key with this method is to limit the bit rate to 30 mbps, which is about the average bitrate for blu-rays. If the bitrate goes too high, it will glitch unpredictably during playback. I used this method to playback Phil Solomon's video, *Rehearsals for Retirement* on an HD projector at an event last year and he said he had never seen it look so good. For sequential clip playback with this method, I've found that a regular PS3 works best. Just simply number the files 001,002, etc. and it will play them in succession. (* unfortunately, there is a little play icon in the bottom left of the frame when new clips begin for about 1 second. There is no way to get rid of it that I've come across, as it turns out it is the least intrusive of any other blu-ray player with sequential playback capabilities that I've tested. Still, I can see a lot of circumstances when it would be unacceptable) To lessen its interruption, just add about 2 seconds of black slug to the beginning of each clip, so that when the white play button appears, it happens over black, not the clip itself. Most players, including the PS3, can only read Fat-32 formatted external drives/ thumb drives. What this means is that there is a 4 gig file size limitation. To give you an idea, a 15 minute video @ full HD 1920x1080 h.264 (.mp4) with a bitrate of 30 mbps is about 3.2 gig. This method is great for shorts To play something longer, like a feature, you can still use this option, but you are limited only to blu-ray players that have the capability to stream files from Windows NTFS formatted drives, which there are few. LG makes some, for example, the *LG BD390 or LG BD590 are capable. With this method, you can theoretically play a file as big as the thumb drive can fit (still limited by the 30 mbps bitrate though. NTFS is a windows only file system, so MACs without special 3rd party software can read these files from drives formatted this way, but not write to them. If you have a Mac and you need to be able to write to an NTFS drive, you can use a program like, **NTFS for MAC OS X http://www.paragon-software.com/home/ntfs-mac. * Another method that I recommend, but costs significantly more is to use an AJA Ki Pro, or Ki Pro mini. This is a device designed for professional editors, or broadcast people to record analog or digital video signals straight to ProRes files to a hard drive or compact flash card. A lesser known fact though, is that is also able to playback the high quality ProRes files (through SDI, or HDMI) into anything that can input those signals. What this means is that you can just load your ProRes file onto the Ki Pro's hard drive, or the Ki Pro mini's compact flash card and playback the prores files at extremely high bitrates (at least in comparison to a highly compressed blu-ray, or h.264 .(mp4) or anything off of a computer. This is a broadcast quality signal, with professional audio outputs that looks amazing in comparison to the alternatives. It does clip based sequential playback without any lag between clips and can also loop single clips, or entire playlists. The difference in bit rates for these two methods is 184 Mbps for the Ki Pro at ProRes 422 (HQ) and ≈ 30 for blu-rays or h.264 (.mp4) Regardless, both methods look great. - Jon Perez On Fri, Feb 24, 2012 at 7:28 PM, David Tetzlaff djte...@gmail.com wrote: We've discussed here before the problems faced by festivals and other exnhibitors one one hand and makers on the other, inherent in the proliferation of different digital file formats. The problems of 'how do we put it all together to play it?' and 'what kind of file should i send them?' While, in the past, I had advocated trying to establish some kind of low-cost standardization, where exhibitors would have to agree to 'get on the same page,' there seems to be little interest in that. As such, I've since concluded that the best practice would be for exhibitors and makers to invest in 'multi-media players.' These are devices, generally about the size of a hardcover book, are designed to create video signals from data files on a USB hard drive, and pass them on to a video display via an HDMI cable. (They often also have internet connections to display streaming video from Netflix etc. though that's not really germane to this particular discussion.) -- I'm
