[Frameworks] San Francisco Cinematheque: new website/new season
Ladies and Gentlemen of Frameworks! I am pleased to inform the world that San Francisco Cinematheque has a brand new website that I would love for you to look at:* www.sfcinematheque.org* (same old popular URL so don't worry about those book marks!) of note, the website features a *NEW!* online bookstore: * www.sfcinematheque.org/shop/* and a *blog* of writings on past screenings (and future ones to come): * www.sfcinematheque.org/blog/* finally our new exhibition season begins this week so please check it out: *www.sfcinematheque.org/calendar/* (please note that we are not doing print calendars this time around. sorry...) and even though I'm trying to talk up the new website let us not forget... *facebook: www.facebook.com/sanfranciscocinematheque* (please like us. please!) twitter: *twitter.com/SFCinematheque/* or should I say *@SFCinematheque*(please follow. why not?) And by the way, Cinematheque has relocated its offices. Address is provided below. Please keep the physical media heading our way! Online previews are fine too! That's all for now but thanks! Steve Polta Artistic Director/Archivist San Francisco Cinematheque s...@sfcinematheque.org San Francisco Cinematheque 55 Taylor Street San Francisco CA 94102 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Fees for music rights.
Check out Opsounds for free music. Or myself Ethnomite Pux From: zach vonjoo zu...@yahoo.com To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com Sent: Tuesday, 10 September 2013, 11:41 Subject: [Frameworks] Fees for music rights. Hi All-- I'm in negotiations with a musician and label at the moment, and they've asked me to suggest a fee for music rights. I don't have much money, but if pressed may be able to raise as much as thousand dollars. Is this a low-ball amount? I've asked around and it's been suggested that I try to get master rights for free, but I don't feel right about that. This is only for submitting to festivals, not DVD rights. It's an experimental short, and unlikely to net me any funds. Thanks! Zach ___ 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] Radical Films About Civil Society
Hi David, This may be a bit tangential, but you may find something of interest in this excellent series http://www.filmlinc.com/films/series/cinema-of-resistance best, Mark On Wed, Aug 28, 2013 at 12:11 PM, David Sherman davidgatessher...@gmail.com wrote: I wanted to query the Frameworks community about recent short experimental films that engage the concept of a Civil Society. We are putting together a show at Exploded View Microcinema that relates to how radical forms of cinema can be vehicles of social change and dialogue. We want to frame the show w/ the Kino-Pravda works of the 1920's and examine how experimental aesthetics relate to works engaging social change today. Any suggestions or references would be greatly appreciated! Thanks, David -- David Sherman 646 E. 5th Street Tucson, AZ 8705 520-366-1573 www.explodedviewgallery.org www.davidshermanfilms.com ___ 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] Fees for music rights.
How much profit are you going to be making on the movie? If the music is an integral part of the film, something that the whole film is built around (like a music video), I would think paying as much as 50% of the profits to the performer would be fair. If the music is more or less incidental, still paying as much as 10% of the profits does not seem out of line. If there are no profits, making this calculation is much much easier. --scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Fees for music rights.
That amount sounds very healthy for an indie label. Enough money to justify the DVD rights too. For majors they have so much overhead that they need huge amounts. Majors usually have a list of the songs with costs for the rights and its pretty straight forward. However, unless you think the song is absolutely amazingly perfect you can probably find music for free or nearly free. Experimental or not its not realistic to make any profit off a short film. But the film will have a life that will give the musician exposure to audiences they might not normally get. The question is whether you think the film with this song is worth the $1000, if you absolutely can't live without it then yes but if there are other soundtrack options then why drop so much coin? Years ago I was able to secure festival rights for free from a local band with an international reputation. The indie label they are on was in the U.S. and basically said 'yeah whatever' signed my little release form and that was that. Indie labels are often just a few people in an office so its possible to get things done that way. The thing no one talks about is that since you have no dvd or broadcast chances you could've probably just used the song with no one knowing. Festivals don't investigate if you've got the song rights or notand record labels don't send spies to experimental film screenings.Since you contacted the label this is not really an option anymore as they are now aware of your project but its worth a thought in the future.Youtube is full of videos with songs with no secured rights. John From: zach vonjoo zu...@yahoo.com To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com Sent: Monday, September 9, 2013 9:41:12 PM Subject: [Frameworks] Fees for music rights. Hi All-- I'm in negotiations with a musician and label at the moment, and they've asked me to suggest a fee for music rights. I don't have much money, but if pressed may be able to raise as much as thousand dollars. Is this a low-ball amount? I've asked around and it's been suggested that I try to get master rights for free, but I don't feel right about that. This is only for submitting to festivals, not DVD rights. It's an experimental short, and unlikely to net me any funds. Thanks! Zach ___ 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] Fees for music rights.
Zach, To answer your question, everything depends on the size of the label involved. A limited pressing of 1,500 copies is about the minimum for a CD release, and is typical of very small labels. The budget for a pressing of that size is around $2,000. In that case, I would think that $1,000 for master/sync rights for an experimental film project is a bit steep. However, if you're dealing with one of the major independent labels (e.g., Merge, Matador, Sub-Pop, DFA, Domino…) then they might be used to working with ad agencies, in which case master/sync licensing fees are considerably higher. To give you an example, if an ad agency wanted to use a tiny, unrecognizable snippet of a song as a stinger in a TV commercial, they would pay a minimum of $5,000. To use a recognizable chunk, the fee would be at least $10,000-$20,000. Of course you shouldn't pay even close to that much! But if you're working with a major minor label you might need to convey to them just how small the experimental film world is. If they're asking you to propose a fee, chances are they're as unsure as you are about what's appropriate in this case. I would use the total production budget of your project as a framework. Make the music licensing fee a percentage of your budget--no more than 20%? 25%? Again, everything depends on the size of the label and the initial pressing. If you'd like to give more details off-list, I'd be happy to advise further. Best, Andrew From: zach vonjoo zu...@yahoo.com Subject: [Frameworks] Fees for music rights. Date: September 9, 2013 9:41:12 PM PDT To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com Reply-To: zach vonjoo zu...@yahoo.com, Experimental Film Discussion List frameworks@jonasmekasfilms.com Hi All-- I'm in negotiations with a musician and label at the moment, and they've asked me to suggest a fee for music rights. I don't have much money, but if pressed may be able to raise as much as thousand dollars. Is this a low-ball amount? I've asked around and it's been suggested that I try to get master rights for free, but I don't feel right about that. This is only for submitting to festivals, not DVD rights. It's an experimental short, and unlikely to net me any funds. Thanks! Zach ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] 3rd Annual High Zero Festival Video Film Screening
3rd Annual High Zero Festival Video Film Screening UB Student Center 21 W. Mt. Royal Ave. 5th Floor Baltimore, MD 7-9PM with works by: Peggy Ahwesh Maya Deren Kate Ewald Joan Jonas Kalup Linzy People Like Us Phill Niblock Tomonari Nishikawa Margaret Rorison Sylvia Schedelbauer Woody Vasulka Bill Viola Stephanie Wuertz A week long event with Music Film Dance September 16- 22, 2013 Baltimore, MD Celebrating our 15th year of the festival! More info on The High Zero Festival: http://highzero.org -- - http://redroom.org/ http://margaretrorison.com/ http://sightunseenbaltimore.com/ m: (443) 695-4228 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Fees for music rights.
Andrew,br/br/Great advice! That's quite a useful summary. Sounds like the label is small and fishing for an offer. br/br/br/Sent from Yahoo! Mail for iPhone___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] load this in your player if swinging tits are your thing
https://archive.org/details/FeralBoyMoreHomemadeMoviesWithTits Jaime ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] JOB Cinema Artist/Film Studies CUBoulder
for application information: https://www.jobsatcu.com/postings/71524 -- www.jeanneliotta.net *The new beauty will be situational, fugitive, and lived.* *McKenzie Wark, The Beach Beneath the Street* * * * * ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Aldo Tambellini
To all within the New York City area, I would like to enthusiastically recommend a visit to the James Cohan Gallery to view Aldo Tambellini's instillation, We are the Primitives of a New Era. James Cohan Gallery is pleased to present Italian-American artist Aldo Tambellini, We Are the Primitives of a New Era, Paintings and Projections 1961-1989, curated by Joseph Ketner and running from September 12th through October 19th. This is the artist's first New York gallery exhibition in nearly four decades. Iconoclastic and experimental artist Aldo Tambellini was among the first artists in the early 1960s to explore new technologies as an art medium. Tambellini combined slide projections, film, performance, and music into sensorial experiences that he aptly called “Electromedia.” Such work informed Andy Warhol’s Exploding Plastic Inevitable and Woody and Steina Vasulka’s The Kitchen. With the rediscovery of this material, Tambellini’s work has become the subject of great interest for early new media. Tambellini’s artistic practice is based on black and its polar opposite, white. The artist believes that the circle is a metaphysical manifestation of energy, stating “Black is the beginning. It is birth, the oneness of all, the expansion of consciousness in all directions” and “light is energy…the same energy we have discovered in the atom.” For this exhibition, Tambellini will create a multimedia piece incorporating his seminal cameraless films, “Lumagrams” (projected hand-painted glass slide), selections from the Black Film Series and sound in an immersive environment that is meant to “dislocate the senses of the viewer.” Additionally on view will be Tambellini’s paintings and unique photographs, or “Videograms,” most of which have not been seen since the 1960s and have only recently been rediscovered. The Black Film Series, a sequence of seven films made between 1965-69, is a primitive, sensory exploration of the medium, which ranges from total abstraction to the assassination of Bobby Kennedy, the Vietnam War, and black teenagers in Coney Island. Before picking up a camera, Tambellini physically worked on the film strip, treating the emulsion with chemicals, paint, ink and stencils, slicing and scraping the celluloid, and dynamically intercutting material from industrial films, newsreels and broadcast television. Abrasive, provocative and turbulent, the series is a rapid-fire response to the beginning of the information age and a world in flux. In 2012, Tambellini was awarded the Avant-Garde Masters Grant from The National Film Preservation Foundation and The Film Foundation, the latter created by Martin Scorsese. The grant allowed for the Harvard Film Archive to restore and preserve the entire Black Films Series. Upcoming in 2013, Tambellini will introduce his Black Film Series at The Museum of Modern Art on October 18 as part of To Save and Project: The 11th MoMA International Festival of Film Preservation. Additionally, Tambellini will be the featured artist at the 2013 Montreal International Film Festival with performances and screenings at the Musée des beaux-arts de Montréal. Tambellini’s work has recently been exhibited at the Tate Modern, London (2012); and the Centre Pompidou, Paris (2012); and is included in the collections of the Harvard Film Archives, Cambridge, MA; the Rose Art Museum, Waltham, MA and the New Britain Museum of American Art, New Britain, CT, in addition to several major private collections. The artist has been a significant contributor to important group exhibitions such as Black Zero, Brooklyn Academy of Music, Brooklyn, NY (1968); Cineprobe, Museum of Modern Art, New York (1971); Documenta 6, Kassel Germany (1977) and Sao Paolo Biennale (1983). Over the past several decades, Tambellini has been the recipient of several awards, including the Grand Prix at Oberhausen Film Festival, 1969 and First Place in the “Short Experimental Film by an Independent Filmmaker” category at the New England Film Video Festival in 2005 and at the Syracuse Film Festival in 2006. His career also integrated a fellowship at the Center for Advanced Visual Studies at MIT 1974-1986. Aldo Tambellini was born in Syracuse, New York, in 1939, spent his childhood in Lucca, Italy, and currently lives and works in Boston, Massachusetts. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
