Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Jamie Cleeland]

http://samples.sainsburysebooks.co.uk/9781400853366_sample_641045.pdf

Sent from my iPad

> On 13 Jan 2016, at 14:46, Chuck Kleinhans  wrote:
> 
> An answer depends on how “early” you’re talking about film (1890s? later?), 
> and about video (Broadcast TV or Portapak?).  Probably the most significant 
> common feature is the fixed camera position.
> 
> The most significant difference (beyond the obvious one of resolution) is 
> shot duration.  Video (portpak on) allowed for remarkably long shots compared 
> to almost all film.
> 
> If you (or anyone) can find it, Noel Burch’s film “Correction Please, or How 
> We Got Into Pictures” is a great explanation of the evolution of early films' 
> means and style, concentrating on how the audience was shaped by the evolving 
> formal elements of cinema.
> 
> Chuck Kleinhans
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
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Re: [Frameworks] Chantal Akerman NOW Film Series

[Lyndsay Bloom]

Thanks Adam, my apologies about the attachment!

On Wed, Jan 13, 2016 at 8:42 AM, Adam Hyman  wrote:

> Hi Lyndsay,
>
> Thanks for the announcement.
> But please don't send a 15 MB image to the whole list; it's really a
> pain.  Maybe just the link, which is at
>
> http://visarts.ucsd.edu/events/chantal-akerman-now-film-series-winterspring-2016
>
> Best regards,
>
> Adam
>
> --
> Adam Hyman
> Los Angeles Filmforum
> a...@lafilmforum.org
> http://www.lafilmforum.org
>
>
>
> From: Lyndsay Bloom 
> Reply-To: "Experimental Film Discussion List <
> frameworks@jonasmekasfilms.com>" 
> Date: Wed, 13 Jan 2016 00:21:32 -0800
> To: "Experimental Film Discussion List " <
> frameworks@jonasmekasfilms.com>
> Subject: [Frameworks] Chantal Akerman NOW Film Series
>
> ___
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> FrameWorks@jonasmekasfilms.com
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>
>
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Fred Camper]

Yes, that's right. Because it was positive film, a succession of black 
and white rectangles appeared inside each other as with each new pass 
the previous result was filmed. I believe it was around 40 minutes long. 
It was really interesting; I had never seen anything like it before, and 
have not since.


Fred Camper

On 1/13/2016 11:32 PM, Gene Youngblood wrote:
I believe Tony Conrad did some kind of demonstration or performance of 
“film feedback” in which exposed 16mm film went immediately into a 
developing bath and was projected, and the projection was filmed and 
projected, and so on.  No doubt someone on this list remembers that 
and can describe it properly. Also, for scholars of early video, in 
the current issue of Afterimage Robyn Farrell has an in-depth history 
of Gerry Schum’s “TV Gallery” and “Video Gallery” projects in Germany 
in the late sixties, which I only alluded to in passing in Expanded 
Cinema.



On Jan 13, 2016, at 3:17 PM, robert harris > wrote:


The “early cinema/early video” query is a good one, one that I’ve not 
seen explored with much rigor.


Kleinhans’ question of “broadcast TV or portapak” is significant.

Early TV might have more in common with radio than with early film.

Early video (portapak) provoked, for some practitioners, 
sensibilities in keeping with those of the Lumieres.


The Lumiere camera was more like video than any other camera 
(including the Edison version) as it was, like video, a capture and 
playback device (and lab).


The promptness with which the Lumieres could playback their 
recordings (if my film mythology serves me) is almost video-like 
(time was a little slower in those days, so they say).


Both early film and early video were made without post-production 
edits, hence were finished in camera.


Video’s instant feedback loop is an unequivocal distinction from film.

To give proper attention to all origin strains of video, you have to 
consider camera-less, raster based work (Nam June Paik, Wolf Vostell 
and others).


The “early cinema” equivalent might be the first people to mark on 
clear leader, some Italian Futurists, Hans Richter, Man Ray etc.


As to cultural “outrage”, it wasn’t uncommon for the people throwing 
things at the artists and making big scenes to be the Surrealists 
themselves.


Some worthy writing of early video (essays you should be able to 
easily find):


Hollis Frampton, /The Withering Away of the State of the Art/

David Antin, /Video: The Distinctive Features of the Medium/




On Jan 13, 2016, at 2:46 AM, Chuck Kleinhans 
> wrote:


An answer depends on how “early” you’re talking about film (1890s? 
later?), and about video (Broadcast TV or Portapak?).  Probably the 
most significant common feature is the fixed camera position.


The most significant difference (beyond the obvious one of 
resolution) is shot duration.  Video (portpak on) allowed for 
remarkably long shots compared to almost all film.


If you (or anyone) can find it, Noel Burch’s film “Correction 
Please, or How We Got Into Pictures” is a great explanation of the 
evolution of early films' means and style, concentrating on how the 
audience was shaped by the evolving formal elements of cinema.


Chuck Kleinhans
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[robert harris]

The “early cinema/early video” query is a good one, one that I’ve not seen 
explored with much rigor. 

Kleinhans’ question of “broadcast TV or portapak” is significant.

Early TV might have more in common with radio than with early film.

Early video (portapak) provoked, for some practitioners, sensibilities in 
keeping with those of the Lumieres. 

The Lumiere camera was more like video than any other camera (including the 
Edison version) as it was, like video, a capture and playback device (and lab).

The promptness with which the Lumieres could playback their recordings (if my 
film mythology serves me) is almost video-like (time was a little slower in 
those days, so they say).

 Both early film and early video were made without post-production edits, hence 
were finished in camera.

 Video’s instant feedback loop is an unequivocal distinction from film.

To give proper attention to all origin strains of video, you have to consider 
camera-less, raster based work (Nam June Paik, Wolf Vostell and others).

The “early cinema” equivalent might be the first people to mark on clear 
leader, some Italian Futurists, Hans Richter, Man Ray etc.

 As to cultural “outrage”, it wasn’t uncommon for the people throwing things at 
the artists and making big scenes to be the Surrealists themselves.

 

Some worthy writing of early video (essays you should be able to easily find): 

Hollis Frampton, The Withering Away of the State of the Art

David Antin, Video: The Distinctive Features of the Medium




On Jan 13, 2016, at 2:46 AM, Chuck Kleinhans  wrote:

> An answer depends on how “early” you’re talking about film (1890s? later?), 
> and about video (Broadcast TV or Portapak?).  Probably the most significant 
> common feature is the fixed camera position.
> 
> The most significant difference (beyond the obvious one of resolution) is 
> shot duration.  Video (portpak on) allowed for remarkably long shots compared 
> to almost all film.
> 
> If you (or anyone) can find it, Noel Burch’s film “Correction Please, or How 
> We Got Into Pictures” is a great explanation of the evolution of early films' 
> means and style, concentrating on how the audience was shaped by the evolving 
> formal elements of cinema.
> 
> Chuck Kleinhans
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Cinema Project]

Jesse!

In regards to "well-deployed spoilers," I might look into Maurice
LeMaître's "Le film est déjà commencé?" from 1952. It was a Lettrist film
and supposed staged provocation. There's some accounts/ info on it in
Off-Screen Cinema by Kaira M Cabañas.

Might not be what you're looking for at all, but it's an interesting sort
of (delayed) response to those legendary "reactions."

Mia Ferm

-- 
*Cinema Project*
www.cinemaproject.org
971-266-0085
PO Box 5991
Portland, OR 97228


On Wed, Jan 13, 2016 at 8:50 PM, Fred Camper  wrote:

> Yes, that's right. Because it was positive film, a succession of black and
> white rectangles appeared inside each other as with each new pass the
> previous result was filmed. I believe it was around 40 minutes long. It was
> really interesting; I had never seen anything like it before, and have not
> since.
>
> Fred Camper
>
>
> On 1/13/2016 11:32 PM, Gene Youngblood wrote:
>
> I believe Tony Conrad did some kind of demonstration or performance of
> “film feedback” in which exposed 16mm film went immediately into a
> developing bath and was projected, and the projection was filmed and
> projected, and so on.  No doubt someone on this list remembers that and can
> describe it properly. Also, for scholars of early video, in the current
> issue of Afterimage Robyn Farrell has an in-depth history of Gerry Schum’s
> “TV Gallery” and “Video Gallery” projects in Germany in the late sixties,
> which I only alluded to in passing in Expanded Cinema.
>
>
> On Jan 13, 2016, at 3:17 PM, robert harris  wrote:
>
> The “early cinema/early video” query is a good one, one that I’ve not seen
> explored with much rigor.
>
> Kleinhans’ question of “broadcast TV or portapak” is significant.
>
> Early TV might have more in common with radio than with early film.
>
> Early video (portapak) provoked, for some practitioners, sensibilities in
> keeping with those of the Lumieres.
>
> The Lumiere camera was more like video than any other camera (including
> the Edison version) as it was, like video, a capture and playback device
> (and lab).
>
> The promptness with which the Lumieres could playback their recordings (if
> my film mythology serves me) is almost video-like (time was a little slower
> in those days, so they say).
>
>  Both early film and early video were made without post-production edits,
> hence were finished in camera.
>
>  Video’s instant feedback loop is an unequivocal distinction from film.
>
> To give proper attention to all origin strains of video, you have to
> consider camera-less, raster based work (Nam June Paik, Wolf Vostell and
> others).
>
> The “early cinema” equivalent might be the first people to mark on clear
> leader, some Italian Futurists, Hans Richter, Man Ray etc.
>
>  As to cultural “outrage”, it wasn’t uncommon for the people throwing
> things at the artists and making big scenes to be the Surrealists
> themselves.
>
>
>
> Some worthy writing of early video (essays you should be able to easily
> find):
>
> Hollis Frampton, *The Withering Away of the State of the Art*
>
> David Antin, *Video: The Distinctive Features of the Medium*
>
>
>
> On Jan 13, 2016, at 2:46 AM, Chuck Kleinhans 
> wrote:
>
> An answer depends on how “early” you’re talking about film (1890s?
> later?), and about video (Broadcast TV or Portapak?).  Probably the most
> significant common feature is the fixed camera position.
>
> The most significant difference (beyond the obvious one of resolution) is
> shot duration.  Video (portpak on) allowed for remarkably long shots
> compared to almost all film.
>
> If you (or anyone) can find it, Noel Burch’s film “Correction Please, or
> How We Got Into Pictures” is a great explanation of the evolution of early
> films' means and style, concentrating on how the audience was shaped by the
> evolving formal elements of cinema.
>
> Chuck Kleinhans
> ___
> 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 
> listFrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Pip Chodorov]

Hi Fred,
wasn't the first image of a candle burning?
I saw Tony project this, not as a performance but as a final print.
Pip


At 23:50 -0500 13/01/16, Fred Camper wrote:
Yes, that's right. Because it was positive film, a succession of 
black and white rectangles appeared inside each other as with each 
new pass the previous result was filmed. I believe it was around 40 
minutes long. It was really interesting; I had never seen anything 
like it before, and have not since.


Fred Camper

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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Pip Chodorov]

I can provide Lemaitre's film if you are interested.
Isou's film ON VENOM AND ETERNITY is an earlier 
iteration, Lemaitre went farther into 
self-recursion (a film about itself).

Pip


At 22:47 -0800 13/01/16, Cinema Project wrote:
In regards to "well-deployed spoilers," I might 
look into Maurice LeMaître's "Le film est déjà 
commencé?" from 1952. It was a Lettrist film and 
supposed staged provocation. There's some 
accounts/ info on it in Off-Screen Cinema by 
Kaira M Cabañas.


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Re: [Frameworks] Full screening list for "Filmworks 78-79" at the Kitchen?

[Steve Polta]

Hi Courtney (and everyone else).

The Archives of San Francisco Cinematheque holds what I believe is the
Program Guide to this series. To clarify what I mean by saying "what I
believe," what we have is a Program Guide for The Kitchen's exhibition
"Filmworks 78-79" but with show dates listed as May 1, 2, 3 1979.

Let me know if you'd like to talk about swinging by to view this item.

Steve Polta
Archivist (and Artistic Director)
San Francisco Cinematheque

On Wed, Jan 13, 2016 at 4:01 PM, Courtney Fellion 
wrote:

> Dear Frameworkers,
>
> I was wondering if anyone could direct me to the full screening list for a
> three day festival (?) in at the Kitchen in 1980 titled, "Filmworks
> '78-79." I'm specifically interested to learn if any video-based works were
> screened with the films (possibly as kinescopes).
>
> Any help is much appreciated!
>
> Best,
> Courtney
>
> ___
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Re: [Frameworks] Chantal Akerman NOW Film Series

[Adam Hyman]

Thanks!  Looking forward to the screenings.

Best regards,

Adam

From:  Lyndsay Bloom 
Reply-To:  "Experimental Film Discussion List
" 
Date:  Wed, 13 Jan 2016 10:48:05 -0800
To:  "Experimental Film Discussion List "

Subject:  Re: [Frameworks] Chantal Akerman NOW Film Series

Thanks Adam, my apologies about the attachment!

On Wed, Jan 13, 2016 at 8:42 AM, Adam Hyman  wrote:
> Hi Lyndsay,
> 
> Thanks for the announcement.
> But please don't send a 15 MB image to the whole list; it's really a pain.
> Maybe just the link, which is at
> http://visarts.ucsd.edu/events/chantal-akerman-now-film-series-winterspring-20
> 16
> 
> Best regards,
> 
> Adam
> 
> -- 
> Adam Hyman
> Los Angeles Filmforum
> a...@lafilmforum.org
> http://www.lafilmforum.org
> 
> 
> 
> From:  Lyndsay Bloom 
> Reply-To:  "Experimental Film Discussion List
> " 
> Date:  Wed, 13 Jan 2016 00:21:32 -0800
> To:  "Experimental Film Discussion List "
> 
> Subject:  [Frameworks] Chantal Akerman NOW Film Series
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 

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[Frameworks] Full screening list for "Filmworks 78-79" at the Kitchen?

[Courtney Fellion]

Dear Frameworkers,

I was wondering if anyone could direct me to the full screening list for a
three day festival (?) in at the Kitchen in 1980 titled, "Filmworks
'78-79." I'm specifically interested to learn if any video-based works were
screened with the films (possibly as kinescopes).

Any help is much appreciated!

Best,
Courtney
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Gene Youngblood]

I believe Tony Conrad did some kind of demonstration or performance of “film 
feedback” in which exposed 16mm film went immediately into a developing bath 
and was projected, and the projection was filmed and projected, and so on.  No 
doubt someone on this list remembers that and can describe it properly. Also, 
for scholars of early video, in the current issue of Afterimage Robyn Farrell 
has an in-depth history of Gerry Schum’s “TV Gallery” and “Video Gallery” 
projects in Germany in the late sixties, which I only alluded to in passing in 
Expanded Cinema.


> On Jan 13, 2016, at 3:17 PM, robert harris  wrote:
> 
> The “early cinema/early video” query is a good one, one that I’ve not seen 
> explored with much rigor. 
> 
> Kleinhans’ question of “broadcast TV or portapak” is significant.
> 
> Early TV might have more in common with radio than with early film.
> 
> Early video (portapak) provoked, for some practitioners, sensibilities in 
> keeping with those of the Lumieres. 
> 
> The Lumiere camera was more like video than any other camera (including the 
> Edison version) as it was, like video, a capture and playback device (and 
> lab).
> 
> The promptness with which the Lumieres could playback their recordings (if my 
> film mythology serves me) is almost video-like (time was a little slower in 
> those days, so they say).
> 
>  Both early film and early video were made without post-production edits, 
> hence were finished in camera.
> 
>  Video’s instant feedback loop is an unequivocal distinction from film.
> 
> To give proper attention to all origin strains of video, you have to consider 
> camera-less, raster based work (Nam June Paik, Wolf Vostell and others).
> 
> The “early cinema” equivalent might be the first people to mark on clear 
> leader, some Italian Futurists, Hans Richter, Man Ray etc.
> 
>  As to cultural “outrage”, it wasn’t uncommon for the people throwing things 
> at the artists and making big scenes to be the Surrealists themselves.
> 
>  
> 
> Some worthy writing of early video (essays you should be able to easily 
> find): 
> 
> Hollis Frampton, The Withering Away of the State of the Art
> 
> David Antin, Video: The Distinctive Features of the Medium
> 
> 
> 
> 
> On Jan 13, 2016, at 2:46 AM, Chuck Kleinhans  > wrote:
> 
>> An answer depends on how “early” you’re talking about film (1890s? later?), 
>> and about video (Broadcast TV or Portapak?).  Probably the most significant 
>> common feature is the fixed camera position.
>> 
>> The most significant difference (beyond the obvious one of resolution) is 
>> shot duration.  Video (portpak on) allowed for remarkably long shots 
>> compared to almost all film.
>> 
>> If you (or anyone) can find it, Noel Burch’s film “Correction Please, or How 
>> We Got Into Pictures” is a great explanation of the evolution of early 
>> films' means and style, concentrating on how the audience was shaped by the 
>> evolving formal elements of cinema.
>> 
>> Chuck Kleinhans
>> ___
>> 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

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[Frameworks] Throwing Shadows: Japanese Expanded Cinema

[Julian Ross]

Hey Frameworks,

Please see below for some info on events in London and Rotterdam on
Japanese expanded cinema, including a film/performance series at Tate
Modern/International Film Festival Rotterdam and a symposium at University
of Westminster, that may be of your interest. Thanks!

Throwing Shadows: Japanese Expanded Cinema in the Time of Pop
Tate Modern
22-24 January
Performances by: Rikuro Miyai, Shuzo Azuchi Gulliver, Jun'ichi Okuyama
Films by: Mako Idemitsu, Keiichi Tanaami, Kiyoshi Awazu and more.
http://www.tate.org.uk/whats-on/tate-modern/eventseries/throwing-shadows-japanese-expanded-cinema-time-pop

Throwing Shadows: A Symposium on Japanese Expanded Cinema
Harrow Campus, University of Westminster
25 January 12-8pm (FREE)
Speakers include: Yuriko Furuhata (McGill University), the three artists
performing at Tate, Go Hirasawa and George Clark.
Includes: Private View of Cosmos: Takashi Makino exhibition at London
Gallery West + two screenings
http://www.westminster.ac.uk/cream/events-and-exhibitions/cream-events-and-exhibitions/throwing-shadows-a-symposium-on-japanese-expanded-cinema
(scroll down for registration link)

Throwing Shadows: Japanese Expanded Cinema
International Film Festival Rotterdam
28-29 January

sound//vision
WORM
28 January 22:00-03:00
Performances by Rikuro Miyai (with Floris Vanhoof), Jun'ichi Okuyama and
Takashi Makino (with Dirk Serries & Teun Verbruggen)
https://iffr.com/en/soundvision-2016

Short Films
Lanteren Venster
29 January 14:15
Multi-projection works by Keiichi Tanaami, Toshio Matsumoto, Masanori Oe
Films by: Mako Idemitsu, Tatsuo Shimamura

If you have any questions, please feel free to e-mail me:
julian.akira.r...@gmail.com
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