[Frameworks] 16mm reels cans in San Francisco
Hey, I'm in town for a few days. any place I could buy plastic 16mm reels/cans? best,p. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16mm reels cans in San Francisco
You could try Stephen at Oddball Film Video Archive... I would imagine he has stacks. Alain On Wed, Jan 9, 2013 at 6:05 AM, Pablo Marin pamari...@yahoo.com wrote: Hey, I'm in town for a few days. any place I could buy plastic 16mm reels/cans? best, p. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- 40 FRAMES Alain LeTourneau Pam Minty 40 FRAMES 5232 North Williams Avenue Portland, Oregon 97217 USA +1 503 231 6548 www.40frames.org www.16mmdirectory.org www.emptyquarterfilm.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16mm reels cans in San Francisco
Acton Camera in the Sunset has them. They are located around 25th and Taravel, underground MUNI goes right there. dk Date: Wed, 9 Jan 2013 06:05:56 -0800 From: pamari...@yahoo.com To: frameworks@jonasmekasfilms.com Subject: [Frameworks] 16mm reels cans in San Francisco Hey, I'm in town for a few days. any place I could buy plastic 16mm reels/cans? best,p. ___ 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] films featuring projectionists
Goodbye Dragon Inn def., Variety and Serbis probably On Tue, Jan 8, 2013 at 11:16 PM, Jack j...@jacktext.net wrote: Mary Jane isn't a virgin anymore, 96, Sarah Jacobson Jack Sent from my iPhone On 09/01/2013, at 2:59 PM, David Tetzlaff djte...@gmail.com wrote: There was an American Indie feature from the 90s (I think) set primarily in the Uptown Theater in Minneapolis. I can't remember the name of the film or the director (a woman who passed tragically at a relatively young age, IIRC). I don't recall if any of the characters were projectionists, they may only have been ushers, concessioners or other theater employees. Can anyone here recall this film, and help jog my failing memory? ___ 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 mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16mm reels cans in San Francisco
Hi Pablo, We're a scanning house and not much of a supplies shop, but we do have scads of new gray Tayloreel 400' plastic 16 reels in cardboard boxes (no cans) for $4.50 a pop if you don't find what you need from Action Camera or Oddball -Buck Bito Lawrence Buck Bito Movette Film Transfer *NEW LOCATION* 1407 Valencia St. San Francisco, CA 94110 (Valencia at 25th St.) 415-558-8815 Open Tuesday - Saturday Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4 www.movettefilm.com On Wed, January 9, 2013 6:05 am, Pablo Marin wrote: Hey, I'm in town for a few days. any place I could buy plastic 16mm reels/cans? best,p. ___ 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] copyrighted music in underground/experimental/avant-garde cinema
Thanks for all the replies, everyone. I was slightly heading towards what John mentioned, like I decided to go ahead with using it as I lacked the money to get a U.S. clear song and since I had no expectations of the film ever being sold or broadcast. or I will probably not ever risk using a song in the PD again in any major work. Unless its something very unique it seems like too much hassle. The situation has clearly changed dramatically, with Youtube (and it's more or less worldwide coverage, content recognition etc.) being the standard. To be on the safe side you don't even risk using a PD song. Or what you can also do is to make a Youtube-only video, accept the rules and the ads, and merrily put Madonna or whatever in it. The trouble is also what John calls no expectations, because not only that those can turn out to be wrong (and either you or someone else finds that the work deserves more recognition/presence). It is also that of course people expect different things in different times, which is where my concern about older works with protected music comes from, when the realistic expectations meant something like a few unlisted screenings and one or two festivals maybe (given that the programmer could pull it of and screen it or smth). But on the Internet (and with the current omnipresence of Youtube in particular), there is very little of such underground around which these expectations could evolve. (Ubuweb is one of those perhaps, with all of it's pros and cons). I also have to note that I have no *personal* interest in this, because I definitely prefer free or unsigned music and my favourite kind of film soundtrack is a running 16 mm projector, so I don't care much about Youtube or Ubuweb either. But I find it to be a very intriguing situation indeed (and I worry about some of the old stuff). Matej On Mon, Jan 7, 2013 at 4:19 PM, Bernard Roddy rodd...@yahoo.com wrote: Back when Steve Kurz was on the block, I posted a discussion of intellectual property at interactivist site: http://interactivist.autonomedia.org/node/4923 If using music without clearance is considered bold on Frameworks, we may be rather far from appreciating what's going on in the Brose case. Activism has always been an important aspect of experimental and underground film culture, and although the legal developments and policing strategies hold some interest, official policies should not be a substitute for thought and debate. Bernie -- *From:* John Woods jawood...@yahoo.ca *To:* Experimental Film Discussion List frameworks@jonasmekasfilms.com *Sent:* Sunday, January 6, 2013 9:05 PM *Subject:* Re: [Frameworks] copyrighted music in underground/experimental/avant-garde cinema Great question and something I think not discussed enough. There seems to be a don't ask don't tell attitude to this issue. My experience with local film festivals screenings has led me to believe that most festivals don't care whether you've got the rights to songs or video clips. As long as you claim you've got the rights when you submit they don't worry. I've seen short films made on a shoe string that have used music from bands as famous as Elvis, The Beach Boys, Black Sabbath and The Beatles to name a few. I'm positive the filmmakers did not clear the rights. In my own experience I usually use original music or obtain rights from local musicians. But I did use a public domain song for a film of mine a few years back. When I was researching public domain songs in the U.S. it seemed that a lot of this material is squatted on by various companies who may or may not have the copyright but will vigorously go after any violation. Because of that it seemed the practice was such that professional film company's would pay them for the rights as a way of protecting themselves. I settled on using a classical Beethoven song recorded in the 1930s and obtained on a well known public domain publishing label in Canada. At the time it was public domain in Canada and Europe but not the U.S. I decided to go ahead with using it as I lacked the money to get a U.S. clear song and since I had no expectations of the film ever being sold or broadcast. As long as I was clear in my own country I felt I would be fine. The song was looped in parts, edited in other parts and digitally cleaned up by a friend. After a modest festival run it sat on the shelf until I decided to post it on YouTube last year. In the years since, the public domain status of that recording has changed in the EU and is no longer in the PD. I got flagged on YouTube by a company in Austria claiming copyright on the song. Since PD status can be easily changed in one country and not another, I will probably not ever risk using a song in the PD again in any major work. Unless its something very unique it seems like too much hassle. However, as recent interests have drawn me to explore using locally shot
[Frameworks] Films composed to music
Hello Frameworkers. There have been a few really great looking-for-this-type-of-film threads recently, so I thought I would throw my query out there. A colleague and I were discussing experimental films that were composed to music. In general we think of film scores being added after the fact, but there are few films that I can think of that are composed specifically to fit a piece of music: Studies for the Decay of the West (dir. Klaus Wyborny) In Wyborny's musical film, every new sound triggers a new image: 6,299 shots, all directly edited within his Super-8 camera. An intoxicating, stroboscopic trip to industrial, natural and urban landscapes in East Africa, New York, the Ruhr region and Rimini. This experimental music film refers to Oswald Spengler's world-famous 1918 philosophical work The Decay of the West. Culture pessimist Spengler argues that progress is an illusion and that the modern era brings little good. People are no longer able to understand the rationality of the world. Wyborny does not set out to make a film version of Spengler's theories, but rather a visual reflection on the modern age; a stroboscopic journey in five parts to industrial, natural and urban landscapes. He uses 6,299 shots, edited directly in a Super-8 camera. Each piano note and violin vibrato evokes a new image: demolished buildings, rubble, destruction and nature. This film forms a counterpart to Wyborny's previous films series Eine andere Welt. Lieder der Erde II(2004/2005). [Film Society of Lincoln Center] Passage Through: A Ritual (dir. Stan Brakahge) When I received the tape of Philip Corner's Through the Mysterious Barricade, Lumen 1 (after F. Couperin), he included a note that thanked me for my film, The Riddle of Lumen, he'd just seen and which had in some way inspired this music. I, in turn, was so moved by the tape he sent I immediately asked his permission to set it to film. It required the most exacting editing process ever; and in the course of that work it occurred to me that I'd originally made The Riddle of Lumen hoping someone would make an answering film and entertain my visual riddle in the manner of the riddling poets of yore. I most expected Hollis Frampton (because of Zorn's Lemma) to pick up the challenge; but he never did. In some sense I think composer Corner has - and now we have this dance of riddles as music and film combine to make passage, in every sense of the word, further possible. (To be absolutely true to the ritual of this passage, the two reels of the film should be shown on one projector, taking the normal amount of time, without rewinding reel #1 or showing the finish and start leaders of either - especially without changing the sound dials - between reels.) [Stan Brakhage, via CFMDC] These are both films that use film to play music in a sense, or use music to generate images or structures. While some filmmakers may have used music in this way in a portion of a larger film, I'm more interested in films that exclusively use this method, whether it is with one complete piece or a few. Also, I'm trying to focus on films that integrate music more deeply than just cutting on specific beats. Any ideas would be much appreciated! Herb Shellenberger Programs Office Manager 3701 CHESTNUT STREET | PHILADELPHIA, PA 19104 phone: 215.895.6575 | fax: 215.895.6562 email: he...@ihphilly.org | web: www.ihousephilly.org http://www.ihousephilly.org/ image001.jpg___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Films composed to music
Of classic films Jean Mitry's *Pacific 231* (1949) is perhaps a good/obvious example? Best, Christian 2013/1/9 Herb Shellenberger he...@ihphilly.org ** ** ** ** ** ** ** ** ** Hello Frameworkers. There have been a few really great looking-for-this-type-of-film threads recently, so I thought I would throw my query out there. ** ** A colleague and I were discussing experimental films that were composed to music. In general we think of film scores being added after the fact, but there are few films that I can think of that are composed specifically to fit a piece of music: ** ** ** ** *Studies for the Decay of the West* (dir. Klaus Wyborny) *In Wyborny's musical film, every new sound triggers a new image: 6,299 shots, all directly edited within his Super-8 camera.* An intoxicating, stroboscopic trip to industrial, natural and urban landscapes in East Africa, **New York**, the Ruhr region and Rimini. This experimental music film refers to Oswald Spengler’s world-famous 1918 philosophical work *The Decay of the West*. Culture pessimist Spengler argues that progress is an illusion and that the modern era brings little good. People are no longer able to understand the rationality of the world. Wyborny does not set out to make a film version of Spengler's theories, but rather a visual reflection on the modern age; a stroboscopic journey in five parts to industrial, natural and urban landscapes. *He uses 6,299 shots, edited directly in a Super-8 camera. Each piano note and violin vibrato evokes a new image: demolished buildings, rubble, destruction and nature.* This film forms a counterpart to Wyborny’s previous films series *Eine andere Welt. Lieder der Erde II*(2004/2005). [Film Society of Lincoln** **Center] ** ** ** ** *Passage Through: A Ritual *(dir. Stan Brakahge) *When I received the tape of Philip Corner's “Through the Mysterious Barricade, Lumen 1 (after F. Couperin),” he included a note that thanked me for my film, “The Riddle of Lumen,” he'd just seen and which had in some way inspired this music. I, in turn, was so moved by the tape he sent I immediately asked his permission to set it to film.* It required the most exacting editing process ever; and in the course of that work it occurred to me that I'd originally made “The Riddle of Lumen” hoping someone would make an answering film and entertain my visual riddle in the manner of the riddling poets of yore. I most expected Hollis Frampton (because of Zorn's “Lemma”) to pick up the challenge; but he never did. In some sense I think composer Corner has - and now we have this dance of riddles as music and film combine to make passage, in every sense of the word, further possible. (To be absolutely true to the ritual of this passage, the two reels of the film should be shown on one projector, taking the normal amount of time, without rewinding reel #1 or showing the finish and start leaders of either - especially without changing the sound dials - between reels.) [Stan Brakhage, via CFMDC] ** ** ** ** These are both films that use film to “play” music in a sense, or use music to generate images or structures. While some filmmakers may have used music in this way in a portion of a larger film, I’m more interested in films that exclusively use this method, whether it is with one complete piece or a few. Also, I’m trying to focus on films that integrate music more deeply than just cutting on specific beats. ** ** Any ideas would be much appreciated! ** ** ***Herb Shellenberger*** *Programs Office Manager* 3701 CHESTNUT STREET | PHILADELPHIA**, **PA** **19104 phone: 215.895.6575 | fax: 215.895.6562 email: he...@ihphilly.org | web: www.ihousephilly.org ** ** ___ 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] Films composed to music
One of my films fits the bill. You can read about it here. http://www.re-voir.com/pip/piltzertextebilingue.htm Pip At 16:32 -0500 9/01/13, Herb Shellenberger wrote: A colleague and I were discussing experimental films that were composed to music. In general we think of film scores being added after the fact, but there are few films that I can think of that are composed specifically to fit a piece of music: ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Films composed to music
Grateful Dead (Robert Nelson) - Nelson made a tape collage from the Dead's first album (given to him on 1/4" by them) that ran about 8 minutes, then cut his film very tightly to that tape piece. When their second album came out, the Dead asked Bob to make a new soundtrack for the film, using the new album instead. Although he did it out of friendship for them, he wasn't happy with it, as the cutting the image to the sound had been a really important concept for him in making the film.“...” Reel Five (Stan Brakhage) - Cut to a pre-existing James Tenney piece ("Flocking"). I suppose Christ Mass Sex Dance could also possibly qualify, but I don't know for sure that Stan cut that film TO the Tenney piece ("Blue Suede"), or if he just thought the soundtrack and image worked together.21-87 (Arthur Lipsett) - composed to Lipsett’s own
pre-made sound collage. I think at least one other Lipsett film was made this way - maybe Free Fall?
John Whitney’s oil-wipe films are abstract films created “live”
to various recordings. Drawing in a pan
of oil with a stylus (this filmed from below on b/w stock) John would improvise abstractions in
real-time, playing along to a particular recording. Several films were made this way, including
Hot House, Celery Stalks at Midnight, Mozart Rondo, Mahzel, 3rd Man Theme,
Egyptian Fantasy, and several others, all made between about 1948-1953, some of
them extending later into the ‘50s as John attempted to create color versions
that he hoped would have wider distribution.Mark TFrom: Herb
Shellenberger he...@ihphilly.org To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Wednesday, January 9, 2013 1:32 PM Subject: [Frameworks] Films composed to music
Hello Frameworkers. There have been a few really great looking-for-this-type-of-film
threads recently, so I thought I would throw my query out there.
A colleague and I were discussing experimental films that
were composed to music. In general we think of film scores being added after
the fact, but there are few films that I can think of that are composed
specifically to fit a piece of music:
Studies for the Decay of the West (dir. Klaus
Wyborny)
In
Wyborny's "musical film," every new sound triggers a new image: 6,299
shots, all directly edited within his Super-8 camera. An intoxicating, stroboscopic trip to
industrial, natural and urban landscapes in East Africa, New
York , the Ruhr region and Rimini .
This experimental music film refers to Oswald Spengler’s world-famous
1918 philosophical workThe Decay of the West. Culture pessimist
Spengler argues that progress is an illusion and that the modern era brings
little good. People are no longer able to understand the rationality of the
world. Wyborny does not set out to make a film version of Spengler's theories,
but rather a visual reflection on the modern age; a stroboscopic journey in
five parts to industrial, natural and urban landscapes. He uses 6,299 shots,
edited directly in a Super-8 camera. Each piano note and violin vibrato evokes
a new image: demolished buildings, rubble, destruction and nature. This
film forms a counterpart to Wyborny’s previous films seriesEine
andere Welt. Lieder der Erde II(2004/2005). [Film Society of
Lincoln
Center ]
Passage Through: A Ritual (dir. Stan Brakahge)
When I received the tape of Philip Corner's “Through
the Mysterious Barricade, Lumen 1 (after F. Couperin),” he included a
note that thanked me for my film, “The Riddle of Lumen,” he'd just
seen and which had in some way inspired this music. I, in turn, was so moved by
the tape he sent I immediately asked his permission to "set it to
film." It required the most exacting editing process ever;
and in the course of that work it occurred to me that I'd originally made
“The Riddle of Lumen” hoping someone would make an
"answering" film and entertain my visual riddle in the manner of the
riddling poets of yore. I
most expected Hollis Frampton (because of Zorn's “Lemma”) to pick
up the challenge; but he never did. In some sense I think composer Corner has -
and now we have this dance of riddles as music and film combine to make
"passage," in every sense of the word, further possible. (To be
absolutely "true to" the ritual of this passage, the two reels of the
film should be shown on one projector, taking the normal amount of time,
without rewinding reel #1 or showing the finish and start leaders of either -
especially without changing the sound dials - between reels.) [Stan Brakhage,
via CFMDC]
These are both films that use film to “play”
music in a sense, or use music to generate images or structures. While some
filmmakers may have used music in this way in a portion of a larger film, I’m
more interested in films that exclusively use this method, whether it is with
one complete piece or a few. Also, I’m trying to focus on films that integrate
music more deeply than just cutting on
Re: [Frameworks] Films composed to music
A story told by poet Allen Ginsberg about his first meeting with Harry Smith immediately comes to mind: He (Jordan Belson) told me enough about him so that when I was in New York later in 1959 I went to the Five Spot to listen to Thelonious Monk night after night. The Five Spot was then on the Bowery—a regular classic jazz club where once I saw Lester Young, and Monk was a reg ular for several months. And I noticed there was an old guy, with a familiar face, someone I dimly recognized from a description, slightly hunchback, short, magical-looking, in a funny way gnomish or dwarfish, same time dignified. He was sitting at a table by the piano towards the kitchen making little marks on a piece of paper. I said to myself, Is that Harry Smith?—I'll go over and ask him. And it turned out to be Harry Smith. I asked him what he was doing, marking on the paper. He said he was calculating whether Thelonious Monk was hitting the piano before or after the beat—trying to notate the syncopation of Thelonious Monk's piano. But I asked him why he was keeping this track record of the syncopation or retards that Monk was making, never coming quite on the beat but always aware of the beat. He said it was because he was calculating the variants. Then I asked him why he was interested in it, this is almost an Hermetic or magical study. I understood he was interested in Crowley, magic, in numbers, in esoteric systems, Theosophy, and he was also a member of the O.T.O. But he had practical use for it. He was making animated collages and he needed the exact tempo of Monk's changes and punctuations of time in order to synchronize the collages and hand-drawn frame-by-frame abstractions with Monk's music. He was working frame-by-frame so it was possible for him to do that, but he needed some kind of scheme. Also see Oskar Fischinger's work: Oskar prepared a film which was originally named Radio Dynamics, tightly synchronized to Ralph Rainger's tune Radio Dynamics. This short film was planned for inclusion in the feature film The Big Broadcast of 1937 (1936). Unfortunately, he found that Paramount had changed the film project from Technicolor to black-and-white. Also, Paramount printed the black-and-white version intercut with various live action images, so it was no longer totally abstract. Fischinger requested to be let out of his contract, and left Paramount. Several years later, with the help of Hilla von Rebay and a grant from the Museum of Non-Objective Painting, he was able to buy the film back from Paramount. Fischinger then redid and re-painted the cels, and made a color version to his satisfaction which he then called Allegretto. This became one of the most-screened and successful films of visual music's history, and one of Fischinger's most popular films. Most of Fischinger's filmmaking attempts in America suffered difficulties. He composed An Optical Poem (1937) to Franz Liszt's Second Hungarian Rhapsody for MGM, but received no profits due to studio bookkeeping systems. He designed the J. S. Bach Toccata and Fugue in D Minor sequence for Walt Disney's Fantasia (1940), but quit without credit because all studio artists simplified and altered all his designs to be more representational. According to William Moritz, Fischinger contributed to the effects animation of the Blue Fairy's wand inPinocchio (1940).[5] In the 1950s, Fischinger did create several animated TV advertisements, including one for Muntz TV which unfortunately never aired due to the arrest of Muntz himself. The Museum of Non-Objective Painting (later, The Guggenheim) commissioned him to synchronize a film with a march by John Philip Sousa in order to demonstrate loyalty to America, and then insisted that he make a film to Bach's Brandenburg Concerto No. 3, even though he wanted to make a film without sound in order to affirm the integrity of his non-objective imagery. Secretly, Fischinger composed the silent movie Radio Dynamics (1942). -Wikipedia An example from my own oeuvre constructed frame by frame in response and in relation to the sounds of a musical composition by composer Florian Wittenburg: https://vimeo.com/36494903 -DB On Jan 9, 2013, at 6:06 PM, Mark Toscano wrote: Grateful Dead (Robert Nelson) - Nelson made a tape collage from the Dead's first album (given to him on 1/4 by them) that ran about 8 minutes, then cut his film very tightly to that tape piece. When their second album came out, the Dead asked Bob to make a new soundtrack for the film, using the new album instead. Although he did it out of friendship for them, he wasn't happy with it, as the cutting the image to the sound had been a really important concept for him in making the film. “...” Reel Five (Stan Brakhage) - Cut to a pre-existing James Tenney piece (Flocking). I suppose Christ Mass Sex Dance could also possibly qualify, but I
Re: [Frameworks] Beatriz Flores Gutiérrez
I'm really sad to hear this. Beatriz taught the first video production course I took at University of North Texas almost 10 years ago, and introduced me to super 8 filmmaking. She encouraged experimentation in an environment that wasn't completely friendly to it and it was a formative experience for me. Thank you for sharing, Bernie. Mike Morris Dallas, Tx Beatriz Flores Gutiérrez passed away on Saturday, April 21, 2012 of breast cancer. She attended San Fransisco State University, then completed an MFA in the Department of Media Study at the State University of New York at Buffalo. Between the Fall of 2003 and the Spring of 2009 she taught at the University of North Texas' Department of Radio, Television, and Film, Northern Illinois University's Time Arts program within their School of Art, and Evergreen State College's Media Arts program. Beatriz was an active member of the Evolutionary Girls Club, a collective founded in part by Erica Eaton during their studies in Buffalo. An active chamption of undocumented workers within the U.S., Beatriz developed a series of videos about the experiences of Mexicans working and living in the States. By nature very sweet and approacheable, she was a fierce defender of the everday working Mexican-Americans. In Mexico Beatriz was a theater student before moving north and always loved dance and physical expression. In the North she was profoundly disturbed by the activities of the U.S. border patrol and Immigration authorities. Beatriz never tired of returning to the border, where she had long-standing relationships with Americans working on behalf of migrants. Organizations on the U.S./Mexican border like No More Deaths and Humane Borders were frequent destinations for Beatriz, and some of us received our basic education about the border and the U.S. foreign policy itself on road trips in her company discussing documentary film and the history of activist media. She was a central figure in the organization of the conference Bridges Not Walls, which was held at Evergreen State College May 15 - 18, 2008. Beatriz also loved pioneers, including Beatriz Noronha da Costa, with whom she studied during the latter's year teaching in Buffalo. During her final years Beatriz had many friends in Olympia with whom she shared an interest in movement workshops, yoga, and natural living. She is survived by three sisters, a brother, and her parents, now separated, all of whom live near Mexico City, where Beatriz grew up. She maintained some activity and enjoyment of life until near the end, and passed peacefully, without pain, and among friends. Bernie___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Filmmakers Showcase
http://www.oldbridgelibrary.org/PDF/filmshowcase1-12-13.pdf . Our next show. Gonna be a good one. Matt http://www.youtube.com/user/matthelme007___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
