[Frameworks] Interlay Cinema Society

[Jon Behrens]

Hello Everyone
I just wanted to let everyone know about a experimental film group that I co 
founded last year. it called ICS aka Interbay Cinema Society.
Here is our mission statement

MISSION STATEMENT
our mission is to provide goods and services to filmmakers who work outside of 
what the mainstream conception of filmmaking is. We provide these services to 
filmmakers free of charge  with no strings attached. We look for filmmakers who 
have built a body of work and have shown dedication and work ethic over the 
years. These services are designed to help off set the enormous costs involved 
in filmmaking and to encourage them to produce more work and to promote cinema 
as an art form .

LIGHTPRESS GRANTS
One of the things that ICS does are the LightPress grants, these are giving out 
twice a year January 1st and July 1st. These are 3 hour vouchers to use at 
LightPress to have really nice HD scans of your films made. These are a $900 
value. Since July 2016 ICS have given out $18000

YOU CAN APPLY KNOW FOR A LIGHTPRESS GRANT
http://interbaycinemasociety.org
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[Frameworks] Diana Barrie

[Scott MacDonald]

*Thanks, Frameworkers--I now have an address for Diana.*

*Scott*
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[Frameworks] Diana Barrie

[Scott MacDonald]

*Frameworkers:*

*Do any of you know the whereabouts of Diana Barrie, who was an inventive
(and productive) filmmaker back in the 1970s-1980s?*

*As I remember, she was from Chicago--though she lived in NYC for awhile. I
believe at my last contact with her,s he was back in Chicago. *

*If you have contact information for her, please let me know off-line.*

*Scott*
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Re: [Frameworks] Cinema v Gallery: Robert Frank in Chicago

[christopher nigel]

I knew Robert Frank from his books  " became a hero to me "  that was over
25 years ago ,  after seeing  his photographs made me want to pick up a
leica M and turn down doing my BA in  photography .
Was to meet him on the street year's ago , He's liked my photographs and
put me and them in one of his film .   we became friends even made a super
8 film with him on super 8  40th brithday

It " s the spirit his art is made in that stands up & the craftmanship in
his vintage prints & Film works .

five minutes  with Mr Frank is better than any art school because you learn
the hard way & a  task master from the school of hard knocks .

There say it;s a dangerous thing to meet a hero of kind 's

In my case it was a friendship , with hard knocks from that Art world the
kind that want's to poke out your eyes .

Christopher ,








On Mon, May 29, 2017 at 1:36 AM, Francisco Torres 
wrote:

> This discussion made me think about the place of art in our current
> cultural climate , how, in the last fifteen years or so, there seems there
> is no more space for art as art . Art has become something of a curiosity
> item or , at best, a conversation piece whose only value is monetary. Just
> pay attention about the way most people who walk into gallery pay attention
> to the work being exhibited- they seem to to be more interested in the
> produce they browse through at the supermarket.  It was something that did
> not happen overnight, it was breeding for a long time but now it is  all
> around us and there is not much to be done about it. The few people who
> know about  artists  like Frank do so through the media coverage of their
> work and must often such coverage emphasizes how important their work  is
> because of the money their work commands in the market place. This 2015
> piece on Frank in the NY Times is very typical of that -
>
> https://www.nytimes.com/2015/07/05/magazine/robert-franks-
> america.html?_r=0
>
> If you read the entire piece you will see that in the end everything is
> about the money, isnt it?
> Oh well.
>
> 2017-05-27 15:16 GMT-04:00 christopher nigel  >:
>
>> Ok thank you ,
>>
>> On Sat, May 27, 2017 at 8:26 PM, Francisco Torres 
>> wrote:
>>
>>> Thanks! I thought of those children's books :)
>>>
>>> 2017-05-27 11:52 GMT-04:00 Adam Hyman :
>>>
 A short-term space/installation.
 Say, an empty storefront gets found/used by an organization for a month
 only.  It’s a “pop-up"

 From: Francisco Torres 
 Reply-To: "Experimental Film Discussion List <
 frameworks@jonasmekasfilms.com>" 
 Date: Sat, 27 May 2017 10:58:58 -0400
 To: "Experimental Film Discussion List "
 
 Subject: Re: [Frameworks] Cinema v Gallery: Robert Frank in Chicago

 i just realized that i have no idea what ''a pop up presentation''
 is. oh well.

 2017-05-27 6:52 GMT-04:00 Francisco Torres :

> https://steidl.de/News/Robert-Frank-Books-and-Films-1947-201
> 7-Exhibition-0226285052.html
>
> Art Institute of Chicago, Bucksbaum Gallery 188
> 111 South Michigan Ave., Chicago
> may 11-26
>
> ''This exhibition dedicated to Frank opens with a special pop-up
> presentation, conceived by the photographer and his longtime publisher
> Gerhard Steidl. The two-week-only display includes 29 photographs by 
> Frank,
> drawn from the museum’s latest acquisition of the artist’s work, his 2014
> book *Partida*. A compact retrospective surrounds it, featuring
> reproductions on newsprint banners tacked to the wall, films shown on
> portable video “beamers” and projected on newsprint, and books hung in
> midair across the gallery. On May 26, the pop-up elements will be replaced
> by Robert Frank originals.''
>
> 2017-05-27 5:54 GMT-04:00 christopher nigel <
> christophernige...@gmail.com>:
>
>> Hi which gallery was this ?
>>
>> On Sat, May 27, 2017 at 8:29 AM, Chuck Kleinhans <
>> chuck...@northwestern.edu> wrote:
>>
>>>
>>> > On May 26, 2017, at 3:23 PM, Bernard Roddy <
>>> tactilecor...@gmail.com> wrote:
>>> >
>>> > Yesterday I passed through a small gallery filled with Robert
>>> Frank pictures.  Lined up along a 12 or 15 ft wall were projections 
>>> about
>>> 11 x 17 in. of 6 or 7 films.  This is gallery exhibition: I saw all 
>>> Franks
>>> films in under a minute.
>>> >
>>>
>>> I don’t quite understand from this description.  Were the
>>> “projections” still images or moving images?  Were they actually 
>>> projected
>>> (as with slides and films or video projection) or were they screened on
>>> flat screen monitors?
>>>
>>> I assume the gallery was 

[Frameworks] raising money for super8 film - experimental film covering SF Bay Area graveyards

[Charles Chadwick]

Hi all. I don't know if this is appropriate to post...but I'm doing a
fundraiser to complete a super8 film I've been working on for nearly a
decade. It's shot at multiple historic graveyards and mausoleums around the
San Francisco Bay Area, and uses found footage to contextualize the
footage. Even contributing a dollar greatly helps out. I've  just been laid
off from working at an eating disorder mental health non-profit that I was
dependent on for income. So, finishing this film now would give me
structure while I look for new employment (and I, of course, now have the
time to finish it). The fundraising page is here:
https://www.gofundme.com/gibbereidolon ... there is a film trailer and an
overview of the project there. More info about me and my work (including
other films in streaming format) can be found here:
http://www.charleschadwick.org .
Thank you very much for your support.

Sincerely,

Charles Chadwick
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Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations

[lagonaboba]

The concerns and interests implicit in your inquiry, time, immediacy, delay, 
and the live, liquid, streaming nature of the signal, were extensively explored 
in many early works of analog video.  
 
The most obvious that comes to mind is Ira Schneider and Frank Gillette’s  Wipe 
Cycle.  Also Shirley Clarke’s TeePee Videospace Troup

Anyone interested in such ideas should read Ina Bloom’s excellent text, The 
Autobiography of Video: The Life and Times of a Memory Technology
http://www.sternberg-press.com/?pageId=1650

Robert Harris


On May 22, 2017, at 9:13 PM, John Muse  wrote:

> Hive mind!  I’m beginning research on moving image media works that couple 
> and complicate the relations between the following events, with an emphasis 
> on the time they take: the time-of-the-profilmic-event, the 
> time-of-the-recording-apparatus, the time-of-the-assembly-protocols, the 
> time-of-the-display-apparatus, and the time-of-the-viewing-experience.  
> 
> A mouthful, I know!  But these events are relatively autonomous, as we know, 
> and ubiquitously so.  Time lapse, slow motion, closed-circuit works and delay 
> systems, and even the simplest continuity edit, which purports to build a 
> single event for the viewer out of disparate events before the camera, 
> partake of this trouble.  But I’m looking for works that critically 
> investigate and exploit these relations.  Man with the Movie Camera, of 
> course and as usual, made all of these features explicit through 
> undercranking, overcranking, animation, jumpcuts, cross-cutting times and 
> spaces, superimpositions, split-screens, and the use of the movie house 
> itself.  
> 
> So many other works from the tradition of experimental film to consider.  
> Things I already love: Ernie Gehr’s Serene Velocity, Nancy Holt’s Boomerang, 
> and Ken Jacob’s Tom Tom and his Nervous Magic Lantern performances.  From the 
> conceptual media side of the aisle: Bruce Nauman’s Live-Taped Video Corridor, 
> Dan Graham’s tape delay works, Douglas Gordon’s 24 Hour Psycho, and many of 
> David Claerbout’s works.   
> 
> Help please!  I’m looking for other canonical materials, especially expanded 
> cinema works, and more contemporary efforts, ones that split these relations 
> even further: between image capture and image playback, there is processing, 
> whether optical and analog or digital: compression schemes, datamoshing, and 
> spline morphing, i.e., "bullet time" and other interpolation protocols.
> 
> Comments and clarifying questions appreciated.   
> 
> j/PrM
> 
> *
> 
> john muse
> visual media scholar
> haverford college
> he/him/his
> http://www.finleymuse.com
> http://www.haverford.edu/faculty/jmuse
> http://haverford.academia.edu/JohnMuse
> 
> *
> 
> 
> 
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