Re: [Frameworks] experimental films involving minerals

[Albert Alcoz]

Sailing Stones (2011) Adrian Missika
https://vimeo.com/47970856

Arrastre (2010) Nicholas Brooks
http://lightcone.org/en/film-8291-arrastre

Mediations (1979-89) Gary Hill
https://vimeo.com/5596880

Pedres (2004) Lluís de Sola
http://www.adecinema.com/adecinema/Pedres.html

On Fri, Feb 26, 2016 at 7:07 AM, Eric Theise  wrote:

> Richard Serra, Hand Catching Lead, 1968
> http://artforum.com/video/mode=large=25373
>
>
> On Thu, Feb 25, 2016 at 12:58 PM, Gene Youngblood 
> wrote:
>
>> If sand qualifies as a mineral, see Nathaniel Dorsky’s Alaya.
>>
>> > On Feb 25, 2016, at 1:40 PM, Peggy McShine 
>> wrote:
>> >
>> > Hello Frameworkers,
>> >
>> > I'm looking for experimental films involving minerals. Any examples?
>> >
>> > Thanks a lot,
>> >
>> > Peggy
>> > ___
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>>
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>
>
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>


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[Frameworks] Agnes Varda

[Alan Sondheim]

For anyone interested, Netflix is running 5 Agnes Varda tv episodes, 2012, 
From Here to There, that are only available until March 8th. Catch them if 
you can - they're terrific.


- Alan


==
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 718-813-3285
music: http://www.espdisk.com/alansondheim/
current text http://www.alansondheim.org/tt.txt
==
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Re: [Frameworks] experimental films involving minerals

[Eric Theise]

Richard Serra, Hand Catching Lead, 1968
http://artforum.com/video/mode=large=25373


On Thu, Feb 25, 2016 at 12:58 PM, Gene Youngblood 
wrote:

> If sand qualifies as a mineral, see Nathaniel Dorsky’s Alaya.
>
> > On Feb 25, 2016, at 1:40 PM, Peggy McShine 
> wrote:
> >
> > Hello Frameworkers,
> >
> > I'm looking for experimental films involving minerals. Any examples?
> >
> > Thanks a lot,
> >
> > Peggy
> > ___
> > 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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Re: [Frameworks] Big Shadows

[Gene Youngblood]

Sounds interesting, Pip. Like the inverse of Bill Viola’s “Sweet Light,” in 
which he walks toward the camera at night wearing white clothes with someone 
walking along beside him in black clothes shining a bright light on him. This 
starts at some distance, so all you see is a glowing white figure advancing 
toward the camera with direct sound picking up his footsteps.

> On Feb 25, 2016, at 11:03 PM, Pip Chodorov  wrote:
> 
> Hi Gene,
> You'll have to search for this but Gaspard Noe made a music video in which he 
> walks through the forest with a handheld camera at night, followed by someone 
> carrying a bright light, the result is his own shadow walking eerily through 
> the woods. I can't find the title now but I think it fits right in.
> Pip
> 
> 
> 
> 
> At 8:24 -0700 25/02/16, Gene Youngblood wrote:
>> Friends, following the success of my 360-degree query, here's one more: 
>> films with Expressionist-style large shadows, such as the sewer in the Third 
>> Man or Noirs like The Big Combo. I need shadows of whole human figures as 
>> well as hands (as in Nosferatu).
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Re: [Frameworks] Big Shadows

[Pip Chodorov]

Hi Gene,
You'll have to search for this but Gaspard Noe made a music video in 
which he walks through the forest with a handheld camera at night, 
followed by someone carrying a bright light, the result is his own 
shadow walking eerily through the woods. I can't find the title now 
but I think it fits right in.

Pip




At 8:24 -0700 25/02/16, Gene Youngblood wrote:
Friends, following the success of my 360-degree query, here's one 
more: films with Expressionist-style large shadows, such as the 
sewer in the Third Man or Noirs like The Big Combo. I need shadows 
of whole human figures as well as hands (as in Nosferatu).

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Re: [Frameworks] experimental films involving minerals

[Gene Youngblood]

If sand qualifies as a mineral, see Nathaniel Dorsky’s Alaya.

> On Feb 25, 2016, at 1:40 PM, Peggy McShine  wrote:
> 
> Hello Frameworkers,
> 
> I'm looking for experimental films involving minerals. Any examples?
> 
> Thanks a lot, 
> 
> Peggy
> ___
> FrameWorks mailing list
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> https://mailman-mail5.webfaction.com/listinfo/frameworks

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[Frameworks] experimental films involving minerals

[Peggy McShine]

Hello Frameworkers,

I'm looking for experimental films involving minerals. Any examples?

Thanks a lot,

Peggy
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Re: [Frameworks] Big Shadows

[Francisco Torres]

http://www.tasteofcinema.com/2015/20-great-movies-that-had-major-influences-on-film-noir/

2016-02-25 16:10 GMT-04:00 Francisco Torres :

>
> https://www.google.com.pr/search?q=noir+shadows=1226=877=lnms=isch=X=0ahUKEwjm9Zuw3JPLAhVDGB4KHfjIARMQ_AUIBigB
>
> 2016-02-25 12:12 GMT-04:00 Elena Duque :
>
>> Vampyr, by Dreyer, is the first thing that comes to my mind when talking
>> about shadows in cinema, followed by M., by Fritz Lang.
>>
>> 2016-02-25 16:41 GMT+01:00 sarah jm kolberg :
>>
>>> many iconic examples in night of the hunter
>>>
>>>
>>>
>>> On 2/25/2016 10:24 AM, Gene Youngblood wrote:
>>>
 Friends, following the success of my 360-degree query, here’s one more:
 films with Expressionist-style large shadows, such as the sewer in the
 Third Man or Noirs like The Big Combo. I need shadows of whole human
 figures as well as hands (as in Nosferatu).
 ___
 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
>>>
>>
>>
>>
>> --
>> Elena Duque Viña
>> Telf: (+34) 605431072
>> elenadu...@gmail.com
>>
>> ___
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>>
>>
>
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Re: [Frameworks] Big Shadows

[sarah jm kolberg]

many iconic examples in night of the hunter


On 2/25/2016 10:24 AM, Gene Youngblood wrote:

Friends, following the success of my 360-degree query, here’s one more: films 
with Expressionist-style large shadows, such as the sewer in the Third Man or 
Noirs like The Big Combo. I need shadows of whole human figures as well as 
hands (as in Nosferatu).
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[Frameworks] Big Shadows

[Gene Youngblood]

Friends, following the success of my 360-degree query, here’s one more: films 
with Expressionist-style large shadows, such as the sewer in the Third Man or 
Noirs like The Big Combo. I need shadows of whole human figures as well as 
hands (as in Nosferatu). 
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Re: [Frameworks] Big Shadows

[cbifilms]

Are the moving shadows of objects in Blue Velvet any help?

Sent from my BlackBerry 10 smartphone on the Rogers network.
  Original Message  
From: Gene Youngblood
Sent: Thursday, February 25, 2016 10:24
To: Frameworks Listserv
Reply To: Experimental Film Discussion List
Subject: [Frameworks] Big Shadows

Friends, following the success of my 360-degree query, here’s one more: films 
with Expressionist-style large shadows, such as the sewer in the Third Man or 
Noirs like The Big Combo. I need shadows of whole human figures as well as 
hands (as in Nosferatu). 
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Re: [Frameworks] Lis Rhodes? Dynamo Dresden fan? + synch?

[John Muse]

I agree with you, Mark.  After watching the "Shoot Shoot Shoot" version last 
night in a hall with a wonderful sound system, I could only think of the fire 
bombing of Dresden, which is curious because London, obviously, knows these 
sounds as well.  That Dresden must be the reference; and even if it's not, it 
should be.  None too subtle either: the score and the parades and swarms and 
cascades and conspire to put thousands of planes in the sky; some patterns 
resemble crosshairs, maps, rail lines and spurs, urban spaces.  Fully 
metaphoric?  No, but forgive me for trying.  A futurist anthem?  Not likely.  
And I'm not trying to reduce the work to this reference, to war and 
bombardment, but this reference matters, as does cinema's role in new modes of 
visualization, in reconnaissance and damage assessment--think of screening this 
before Farocki's "Images of the World and the Inscriptions of War."  The 
impulse to produce the work was materialist, playful, inspired.  The resulting 
work though has these resonances; the title simply owns up to them, no?

The synch offset: we're all agreed!

j

On Feb 25, 2016, at 7:12 AM, Mark Webber  wrote:

> I believe the title is also a reference to the bombing of Dresden in World 
> War II, and the qualities of the soundtrack suggest this also. Its remarkable 
> how much this soundtrack varies according to the projector it is shown on. 
> 
> As Nicky Hamlyn stated, the soundtrack was offset after being made to put it 
> in sync with the image during projection. (Light Music was done the same way.)
> 
> It’s remarkable how much these soundtracks vary according to the projector 
> they are shown on.
> 
> Mark
> 
>> Can anyone motivate the title of Lis Rhodes' Dynamo Dresden?  Or is she a 
>> fan of https://en.wikipedia.org/wiki/Dynamo_Dresden ?
>> 
>> I was hoping that either the Letratone or the clear leader was manufactured 
>> in Dresden.
>> 
>> And she claims that the optical track and the visual track are the same, but 
>> it looks like (and sounds like) she offset the optical track (26 frames 
>> ahead) so that there would visual and acoustic synch, even though she 
>> fabricated the optical track and the visual track in one go.  If you go to 
>> http://www.tate.org.uk/whats-on/tate-modern-tanks/display/lis-rhodes-light-music
>>  and scroll down to the video, you'll see at 51" prints of the film strip.  
>> Right?  Wrong?
>> 
>> j/PrM
> 
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j/PrM

*

john muse
visiting assistant professor of independent college programs
haverford college
http://www.finleymuse.com
http://www.haverford.edu/faculty/jmuse
http://haverford.academia.edu/JohnMuse

*



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Re: [Frameworks] Lis Rhodes? Dynamo Dresden fan? + synch?

[Mark Webber]

I believe the title is also a reference to the bombing of Dresden in World War 
II, and the qualities of the soundtrack suggest this also. Its remarkable how 
much this soundtrack varies according to the projector it is shown on. 

As Nicky Hamlyn stated, the soundtrack was offset after being made to put it in 
sync with the image during projection. (Light Music was done the same way.)

It’s remarkable how much these soundtracks vary according to the projector they 
are shown on.

Mark

> Can anyone motivate the title of Lis Rhodes' Dynamo Dresden?  Or is she a fan 
> of https://en.wikipedia.org/wiki/Dynamo_Dresden ?
> 
> I was hoping that either the Letratone or the clear leader was manufactured 
> in Dresden.
> 
> And she claims that the optical track and the visual track are the same, but 
> it looks like (and sounds like) she offset the optical track (26 frames 
> ahead) so that there would visual and acoustic synch, even though she 
> fabricated the optical track and the visual track in one go.  If you go to 
> http://www.tate.org.uk/whats-on/tate-modern-tanks/display/lis-rhodes-light-music
>  and scroll down to the video, you'll see at 51" prints of the film strip.  
> Right?  Wrong?
> 
> j/PrM

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