Re: [Frameworks] Camera obscura films

[Gene Youngblood]

If one wanted sort of “introductory” or otherwise contextualizing shots, 
there’s an external view of the San Francisco camera obscura in one of Nick 
Dorsky’s earlier films, and maybe also at the end of “Flower Thief.” Then 
there’s an interior in Bertolucci’s “Before the Revolution” where the reflected 
image turns to color while the rest of the frame remains black and white.  


> On Mar 20, 2016, at 4:03 PM, Nicky Hamlyn  wrote:
> 
> Rachel Reupke made a film in/of a camera obscura,  but that's as much as I 
> know.  You could ask at LUX, Nicky
> 
> Envoyé depuis mon smartphone Sony Xperia™
> 
> 
> 
>  Simon Payne a écrit 
> 
> Dear Jonathan,
> 
> Jennifer Nightingale, a UK filmmaker, has made several pinhole camera films, 
> each using different methods: a pinhole over a super 8 cartridge wound on 
> with a hair-grip; a pinhole over the aperture of a hand cranked Bolex; and 
> two 400ft 16mm films with pinholes over the magazine aperture. They are 
> exposed looking out of windows (with the first having been made in Canterbury 
> cathedral). All wonderful, simple and direct works.
> 
> Best wishes,
> 
> Simon 
> 
> Sent from my iPhone
> 
> On 19 Mar 2016, at 17:18, Jonathan Walley  > wrote:
> 
>> Hello everyone,
>> 
>> I’m looking for experimental films (including videos) about camera obscuras, 
>> and/or made using camera obscuras or pinhole cameras. I know about Glider by 
>> Ernie Gehr and Minyong Jang’s The Dark Room, although I don’t know who 
>> distributes these (anyone know?). But any other suggestions are welcome.
>> 
>> This is for a week-long event at Denison in April featuring camera 
>> obscura-based installations by Sandra Gibson and Luis Recoder. More 
>> information, for those of you in/around/sort of near central Ohio, will be 
>> forthcoming.
>> 
>> Thanks in advance for your suggestions!
>> 
>> Yours in obscurity,
>> Jonathan
>> 
>> Dr. Jonathan Walley
>> Associate Professor and Chair
>> Department of Cinema
>> Denison University
>> wall...@denison.edu 
>> 
>> 
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Re: [Frameworks] Camera obscura films

[Nicky Hamlyn]

Rachel Reupke made a film in/of a camera obscura,  but that's as much as I 
know.  You could ask at LUX, Nicky 

Envoyé depuis mon smartphone Sony Xperia™

 Simon Payne a écrit 

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Re: [Frameworks] Camera obscura films

[Jonathan Walley]

Hi Pip,

Thanks so much for these suggestions - I was able to see extracts of these 
online (including on the Light Cone site) and think they’re both terrific. I’m 
putting an order in with Light Cone tomorrow.

Best,
Jonathan

Dr. Jonathan Walley
Associate Professor and Chair
Department of Cinema
Denison University
wall...@denison.edu


> On Mar 19, 2016, at 1:30 PM, Pip Chodorov  wrote:
> 
> Paolo Gioli's FILM STENOPEICO was made in 16mm using a pinhole camera.
> 
> And Patrick Bokanowski's LA FEMME QUI SE POUDRE is a beautiful film made 
> using a camera obscura and reworked glass  (he called his lenses subjectifs 
> instead of objectifs)
> 
> 
> At 13:18 -0400 19/03/16, Jonathan Walley wrote:
>> I'm looking for experimental films (including videos) about camera obscuras, 
>> and/or made using camera obscuras or pinhole cameras. I know aboutGlider by 
>> Ernie Gehr and Minyong Jang's The Dark Room, although I don't know who 
>> distributes these (anyone know?). But any other suggestions are welcome.
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Re: [Frameworks] FrameWorks Digest, Vol 70, Issue 22

[Jonathan Walley]

Thanks to all the frameworkers who recommended camera obscura and pinhole 
camera films. I didn’t quite realize how much work their is in that vein. I’ll 
be contacting some of you to push for a little more info, but meantime, thanks 
for the suggestions! There is some fantastic work out there.
Best,
Jonathan

Dr. Jonathan Walley
Associate Professor and Chair
Department of Cinema
Denison University
wall...@denison.edu


> On Mar 20, 2016, at 11:34 AM, Grant Petrey  wrote:
> 
> Dan Denton has made films using a. Pinhole front attached to a flatbed 
> scanner.
> 
> Danieldenton.co.uk
> 
> 
> 
> 
> Sent from my HTC
> 
> - Reply message -
> From: frameworks-requ...@jonasmekasfilms.com
> To: 
> Subject: FrameWorks Digest, Vol 70, Issue 22
> Date: Sun, Mar 20, 2016 12:00
> 
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Re: [Frameworks] THE END OF FACEBOOK AS SOCIAL NETWORK

[Jana Debus]

this just came through e-artnow. they are based in Amsterdam and funded by Art 
Councels.
might be worth wile investigating.


Begin forwarded message:

> From: e-artnow 
> Date: March 17, 2016 at 6:06:56 AM PDT
> To: i...@janadebus.com
> Subject: Join Patty Morgan, social network for contemporary art
> 
> 
> Create your own announcement + Opening reminder   17.03.2016
> Join Patty Morgan, social network for contemporary art
>   
> Call for applications
> Patty Morgan
> 
> www.pattymorgan.net
> 
> 
>  
>  
> Patty Morgan open call
> 
> Contact
> pa...@pattymorgan.net
> Marijn Ottenhof
> Phone: +31615635013
> 
> Address
> www.pattymorgan.net
> Pacific Place
> Geldersekade 30a
> 1012 BJ
> Netherlands
> 
> Info
> Application is open to professional visual artists from all disciplines: 
> submit an artist statement and portfolio on our website.
> 
>  
> Share this announcement on:  Facebook | Twitter
> 
> OPEN CALL FOR VISUAL ARTISTS
> 
> Patty Morgan is a new, social online platform for contemporary art. By 
> creating an account, artists and galleries can show and sell their work, 
> while collectors can follow their process, find art they like and get in 
> touch. 
> 
> Patty Morgan is a place for artists to share ideas and give insight in their 
> work. We believe that art becomes more interesting when you can follow 
> artists for a longer period of time, gain access to their artistic practice 
> and see their work develop. Galleries and artists can link their accounts to 
> broaden the reach of the gallery through the artists' network and allow 
> collectors a better overview of the gallery's activities.
> 
> HOW TO APPLY
> 
> Start by creating an account on www.pattymorgan.net to be able to see what's 
> going on and who is part of Patty's community already. Like what you see? 
> Apply for artist access and a committee will judge your work based on an 
> artist statement and a portfolio website.
> 
> NOT AN ARTIST AT ALL?
> 
> We're also here for you! Create an account, like and follow the work and 
> process of hundreds of artists and galleries around the world.
> 
>  
>  
>  
> i...@e-artnow.org
> 
> How to create your own announcement with e-artnow
> 
> Unsubscribe i...@janadebus.com from e-artnow
> 
> e-artnow
> Za sidlistem 2148/22
> Prague 14300
> Czech Republic
> 




 
sent on the go, please excuse typos


> On Mar 16, 2016, at 11:15 AM, Andy Ditzler  wrote:
> 
> Agreed with Jessica, free services only do so much and you can't rely solely 
> on them for publicizing your event. That said, I do mini-surveys at each of 
> my events, and Facebook is how most (not all) of attendees know. 
> 
> I have a dedicated group for my film series on Facebook, which I moderate and 
> for which people sign themselves up - and even though they themselves have 
> indicated their interest, they can only receive invites to the group's events 
> if they are also my personal friends on FB. That could be the problem - your 
> invites only go to those you have friended. 
> 
> Also agreed that email lists remain essential. I've heard good things about 
> Mailchimp. I personally use ymlp.com and have found it effective and very 
> easy to work with - worth the yearly fee, definitely. Hope this helps. 
> 
> Andy Ditzler
> Founder and curator, Film Love: www.filmlove.org  |  
> https://www.facebook.com/groups/77666086329/
> Co-founder, John Q collective: www.johnq.org
> 
> 
> 
>> On Sat, Mar 12, 2016 at 9:33 AM, drawclose.com 
>>  wrote:
>> The Facebook workaround : message five to ten friends a day and ask them to 
>> invite people to that event. Have all other participants do the same. You 
>> have to nag, the kids these days think putting up a Facebook event is work*.
>> 
>> The long term workaround: build your email list. 
>> 
>> Unpopular truth: if the service is free than you are the product being sold. 
>> 
>> It's a struggle, FB keeps the illusion of convenience, since "everybody's on 
>> it all the time". But when someone offers to do the work for you, there's 
>> usually a cost . . . 
>> 
>> Jessica
>> 
>> *my response to this was: really? You ever hung 100+ fliers with staple guns 
>> only to watch them disappear in a week? 
>> 
>> *
>> http://www.drawclose.com
>> 
>>> On Mar 11, 2016, at 11:32 PM, Gashouse Films  
>>> wrote:
>>> 
>>> Yes, same exact thing is happening to me. After 5 years, my first feature 
>>> is premiering and I was only able to invite half of the followers of the 
>>> film page on FB. Hoping somehow they will catch a post to know about the 
>>> screening. 
>>> 
 On Fri, Mar 11, 2016 at 11:03 PM, Dominic Angerame 
  wrote:
 Personally  believe that Facebook and Apple are the two biggest terrorist 
 organizations in the world!
 
 Dominic
 
> On Fri, Mar 11, 2016 at 3:46 PM, Klaus W. Eisenlohr  
> wrote:

Re: [Frameworks] Film/video programers/curators and campus film screenings

[Michael Zryd]

Thank you to everyone on- and off-list who shared their stories and experiences 
about programming film in college and university. 

All the responses thus far have been from people in Canada or the US. Has 
anyone outside those countries started programming at campus film societies?

It’s fascinating to hear the creative ways in which people used limited 
resources (including the all-important university film/video collection) and 
the relative freedom afforded by campus screening situations to experiment with 
showing work. And it seems that people are not simply moving from campus to 
film and art venues; rather there’s a persistent move back and forth between 
campus and external venues along programmers' creative and educational 
trajectories. 
 
> On Mar 18, 2016, at 11:02 AM, Tara Nelson  wrote:
> 
> My experience with experimental film started in the micro-cinema scene in 
> Pittsburgh, which was entirely DIY and non-affiliated (though Pittsburgh 
> Filmmakers was very supportive) - Jefferson Presents..., and before them 
> Orgone Cinema - represented two decades of consistent experimental film 
> screenings, completely run by artists (Michael Johnsen, Greg Pierce, Gordon 
> Nelson, Adam Abrams, Jim Mueller).  There is a great history of this scene in 
> INCITE's Exhibition Issue.  
> 
> I went to grad school at MassArt, where Saul Levine runs a weekly Film 
> Society dedicated to avant garde cinema (30+years now). MassArt Film Society 
> shows contemporary work, as well as films from the unique collection at 
> MassArt, and invites artists to present their work on a weekly basis.  I was 
> fortunate to be a graduate assistant for MassArt Film Society - projecting, 
> setting up, print trafficking etc - and I got to meet an incredible variety 
> of filmmakers, and became well acquainted with their work.  Saul was very 
> supportive and allowed me to program a few shows, and provided guidance and 
> assistance when I put together a US tour for Rose Lowder in 2011 (during my 
> last year in grad school).  Rebecca Meyers, who was programming for Emerson 
> at the time, was also incredibly supportive, as was Rob Todd.  The mentoring 
> I received from experienced programmers has been the most valuable outcome of 
> my graduate studies.  I continue to program experimental film screenings in 
> my current capacity as Curator of Moving Image Collections at Visual Studies 
> Workshop, and I include programming and projection in all the courses I teach 
> in Film Production.  
> 
> Filmmaking is a community, not a competition.
> 
> Tara Merenda Nelson
> 
> On Fri, Mar 18, 2016 at 10:24 AM, Beebe, Roger W.  > wrote:
> Many of my students who were involved centrally or peripherally with FLEXfest 
> in Florida have gone on to do a wide range of post-graduation programming.  
> Brendan and Jeremy Smyth, for example, currently run both the Haverhill 
> Experimental Film Festival (HEFF) and Unexposed Microcinema in Durham, NC.  
> Warren Cockerham programmed the New England Home Movie Tour and had a hand in 
> Luther Price gallery shows at Bennington and Callicoon Fine Arts.  Jodie 
> Mack, who was among the founding group at FLEX, went from there to an 
> internship at the PDX Film Festival in Portland then to SAIC where she 
> programmed the Animation’s World Fair and revived David Gatten’s Eye & Ear 
> Clinic (which Warren Cockerham also did for a bit) and since landing at 
> Dartmouth has programmed a series called Eyewash.  Charlotte Taylor, also one 
> of the original FLEX crew, founded Mechanical Eye Microcinema in Asheville, 
> NC.  Mike Stoltz, who had a hand in helping me set up screenings in the 
> pre-FLEX days, now is part of the group programming the Echo Park Film 
> Center.  This is a very incomplete list, and I’m reluctant to hit send lest I 
> forget someone, but it at least gestures to the Florida/FLEX family tree in a 
> way that shows the connections you’ve asked about.
> 
> FYI,
> Roger
> 
> On Mar 17, 2016, at 2:20 PM, Michael Zryd  > wrote:
> 
>> Hi Frameworks: I’m doing some research on what connections (if any) exist 
>> between people who program or curate film, video, and other moving image 
>> media and their experiences in college and university. 
>> 
>> Question: If you are currently programming or curating, did you get any 
>> experience at a college or university campus film society or screening 
>> series?
>> 
>> I know of histories in Toronto at universities like Ryerson, University of 
>> Toronto, and York University, and have read anecdotal accounts from schools 
>> like Binghamton, NY, where students from those schools programmed ambitious 
>> experimental screenings on campus and then continued to program/curate 
>> afterwards, but I’m wondering how widespread that connection is. And whether 
>> it’s a North American phenomenon or if it occurs elsewhere.
>> 
>> 

Re: [Frameworks] two more

[Gene Youngblood]

It counts indeed. Thanks!

> On Mar 17, 2016, at 11:33 AM, Salise Hughes  wrote:
> 
> Does a TV series count? The Twilight Zone: Where is Everybody?
> 
> On Thu, Mar 10, 2016 at 2:43 PM, Gene Youngblood  > wrote:
> Friends, in the last couple of weeks you have generously assisted me in 
> finding films with certain content, like shadows, swings, and 360-degree 
> camera moves. They’re for two presentations I’m giving in San Francisco late 
> April, which I’ll tell you more about as the time approaches. Meanwhile, I 
> need two more:
> 
> 1. Empty city streets. “The World, Flesh, and the Devil” is an example, New 
> York without people.
> 
> 2. In Woody Allen’s “Annie Hall” subtitles tell us what he and Diane Keaton 
> are really thinking as they talk with one another. I’m drawing a blank on 
> another, more recent, film with well known actors that has a similar scene. 
> My recollection is that it’s not necessarily intended to be humorous, but I 
> could be wrong about that. Any ideas about this or any film in which the 
> technique is used? It has to be text on screen, not voice-over “inner 
> monologue,” which text represents in these instances.
> 
> 
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> 
> 
> -- 
> Salise Hughes
> Artist, Filmmaker, Armchair Anthropologist
> 
> http://salisehughes.blogspot.com 
> https://vimeo.com/user1421998 
> 
> 
> 
> 
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[Frameworks] New work

[Jamie Cleeland]

https://archive.org/details/SongForAManInFlames

Comments welcome,
Jaime

Sent from my iPad
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Re: [Frameworks] Film/video programers/curators and campus film screenings

[JB Mabe]

In my first weeks of college in 1999 at Winthrop University in Rock
Hill, SC I formed an informal film club and held screenings programmed
mostly from the library's collection or my criterion laserdiscs (first
screening was Oscar Micheuax's Within Our Gates). When I transferred
to the University of South Carolina in 2001, I joined the more formal
"Cinematic Arts" committee that programmed out of the Russell House
(where I was also the projectionist with a crappy 35mm platter and an
Eiki 16mm). Some folks might be familiar with the Russell House from
the early days of the Orphan Film Symposium. The budget for student
programming was ridiculously generous (I think due the very popular
football program and university merchandising - Go Gamecocks), and
once per semester I was able to spend about $1000 for a weekend's
worth of programming. Sometimes I'd rent beat up Maurice Pialat prints
from New Yorker (I think), and sometimes I'd rent a ton of stuff from
FMC and Canyon. After college, I did a lot of independent programming,
made my own films, cofounded spaces and festivals, and now I'm in my
first professional programming position at Chicago Filmmakers and the
Onion City Film Festival. That's the short version, anyway.

On Thu, Mar 17, 2016 at 1:20 PM, Michael Zryd  wrote:
> Hi Frameworks: I’m doing some research on what connections (if any) exist
> between people who program or curate film, video, and other moving image
> media and their experiences in college and university.
>
> Question: If you are currently programming or curating, did you get any
> experience at a college or university campus film society or screening
> series?
>
> I know of histories in Toronto at universities like Ryerson, University of
> Toronto, and York University, and have read anecdotal accounts from schools
> like Binghamton, NY, where students from those schools programmed ambitious
> experimental screenings on campus and then continued to program/curate
> afterwards, but I’m wondering how widespread that connection is. And whether
> it’s a North American phenomenon or if it occurs elsewhere.
>
> Please share any stories or personal histories, either privately to me, or
> to the listserv.
>
> Thanks!
>
> Michael Zryd • Associate Professor
> Department of Cinema & Media Arts
> School of the Arts, Media, Performance & Design
>
> YORK UNIVERSITY
> York Lanes 230 • 4700 Keele Street
> Toronto ON • Canada M3J 1P3
> T 416.736.2100 x66957 / cell: 647-430-8680 / Skype: mjpzryd
> z...@yorku.ca • http://ampd.yorku.ca/about-us/our-faculty/michael-zryd •
> ampd.yorku.ca
>
> York University, one of 2015 Canada’s Greenest Employers
>
>
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