Re: [Frameworks] optical soundtrack generator?

[Francisco Torres]

'Scott wrote - '...to take an audio source (WAV or MP3,
or direct audio from a mic or line in) and convert it to an optical track.''

Now I get it Interesting project for sure!  Those optical track
printers must be inepensive now, getting the raw stock they use seems
trickier. The film recorder problem, as others have mentioned, is that
it is designed to create single frames. Also I dont know if they allow
to print in the optical track area, Interesting project for sure!
Hope this project works out and please keep us informed about it.
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Re: [Frameworks] optical soundtrack generator?

[Francisco Torres]

so the original poster idea is to convert the optical sound  track
into an image that could be printed on the frame area to be projected
as a whole image as we listen to the sound? is that it?

2020-09-11 8:01 GMT-04:00, graemeh...@irational.org :
>
> Agfa will manufacture this stock if they get a big enough order, like
> every single (exp) film maker in the world ordering 2000ft? Why not, now
> is the age to achieve such a feat..
>
>
>
>> For a long time I ran Agfa ST-8 through the sound cameras, but that has
>> become difficult to find.  That's also a polyester base.
>>
>> I would not worry too much about running the new polyester film stocks in
>> a well-maintained Bolex.
>> --scott
>>
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Re: [Frameworks] A bolex and film in Delhi?

[Francisco Torres]

a good video about drawing on film-

''How to do Animation by Drawing on Film''

https://youtu.be/Cn5e2NvvELI
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Re: [Frameworks] Deleuze and Husserl

[Francisco Torres]

well, at least i learned some things. at the end of the day that's the
best we can get from life.
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Re: [Frameworks] books on animation theory?

[Francisco Torres]

I guess Bazin and Kracauer were not much into animation. Deleuze much less.

2020-08-16 17:42 GMT-04:00, Cecilia Dougherty :
> I know, Francisco! c
>
> On Sun, Aug 16, 2020 at 2:03 PM Francisco Torres 
> wrote:
>
>> when i was in film school it used to bother me that in most film
>> theory books animation was not even mentioned, as if it did not exist
>> or as if it was not part of cinema at all. then i thought that all of
>> cinema is animation, the camera breaks down the image into frames,
>> then the projector screens it giving the illusion of continuity. so
>> all film theory is abour animation.
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>
>
> --
> Cecilia Dougherty
> https://www.ceciliadougherty.com/ <http://www.ceciliadougherty.com>
> https://drift.ceciliadougherty.com/ <http://inbetweentheories.com>
> https://paleolithic.ceciliadougherty.com/
> <https://microscopegallery.com/platform/>
>
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Re: [Frameworks] Scriptwriting for Documentary

[Francisco Torres]

some ideas-

http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CI/CI/pdf/programme_doc_documentary_script.pdf


https://documentarycameras.com/how-to-write-a-documentary-film-script/

2020-08-09 12:56 GMT-04:00, Samirah Alkassim :
> Greetings.
>
> Does anyone have advice about sources (books, articles, etc.) about
> scriptwriting for documentary - as in pre-production or during shooting?
>
> I'm very sloppy and approach it as logistical issues during pre-production,
> production and editing, but wonder if anyone has a particular "system" of
> organization that works.
>
> Thanks,
> Samirah
>
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Re: [Frameworks] T.A.T.V streaming experiment

[Francisco Torres]

''...T.A.T.V.  is an
autonomous zone to test drive a micro republic of experimental
performance practices...''

I wonder what Hakim Bey (L. Wilson) thinks about the TAZ concept
appllied to TV. He does not seem to be much into TV or into media in
general.  Too bad the link will not open here in the sticks (very slow
internet) , otherwise I would like to watch it. I hope the best to you
with this project.
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Re: [Frameworks] Request for help for a film project

[Francisco Torres]

do yo need raw film stock to use on camera to shoot or footage already
shot by others for found footage use?
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Re: [Frameworks] (no subject)

[Francisco Torres]

''Here is a course of action: harden, worsen, accelerate decadence.
Adopt the perspective of active nihilism, exceed the mere
recognition-be it depressive or admiring–of the destruction of all
values. Become more and more incredulous. Push decadence further still
and accept, for instance, to destroy the belief in truth under all its
forms''  Jean-François Lyotard,, Driftworks (Columbia University,
1984)

2020-07-09 9:49 GMT-05:00, Bernard Roddy :
> Just looking up from my reading, which I'm transcribing below:
>
> "The most living thought becomes frigid in the formula that expresses it.
> The word turns against the idea. The letter kills the spirit. And our most
> ardent enthusiasm, as soon as it is externalized into action, is so
> naturally congealed into cold calculation of interest or vanity, the one
> takes so easily the shape of the other, that we might confuse them
> together, doubt our own sincerity, deny goodness and love, if we did not
> know that the dead retain for a time the features of the living."
>
> Bergson, Creative Evolution (MacMillan, 1928)
>
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Re: [Frameworks] new exp film reviews

[Francisco Torres]

Thanks,it is very good.  I will pass the link along.
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Re: [Frameworks] Looking for a S16mm Bolex - Barcelona, Spain

[Francisco Torres]

sorry for typos

2020-06-27 12:46 GMT-04:00, Francisco Torres :
> Maybe you should mention the date you need tit for I have seen, in
> the past few months,  some S16 bolex for sale online from US east
> coast used camera websites. The time element may be a problem with
> those.
>
> 2020-06-26 16:14 GMT-04:00, patricia dauder :
>> Hello.
>>
>> I'm Patricia Dauder from Barcelona.
>>
>> I'm looking for a S16mm Bolex, for a new film project in the Azores
>> Islands.
>>
>> Since I'm travelling and filming on my own, I've decided to get a Bolex
>> (rather small)
>> but one of the latest models with a bright viewfinder, and bayo mount.
>> I'm
>> actually specfically looking for an SBM, because I prefer the spring
>> motor
>> than the later electronic version (EL).
>>
>> I'm also looking for a zoom that covers S16mm (Angenieux 15-150nn or Kern
>> Vario Switar 12.5-1oomm) and a couple of primes, a wide angle and a micro
>>
>> If anyone has any of this and is interested in selling , please I'd
>> appreciate if you can contact me at the email below:
>>
>> pdau...@hotmail.com
>> Phone: +34 646316992
>>
>> Cheers,
>>
>>
>> Patricia Dauder
>> www.patriciadauder.net
>> T. +34 646316992
>>
>
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Re: [Frameworks] Looking for a S16mm Bolex - Barcelona, Spain

[Francisco Torres]

Maybe you should mention the date you need tit for I have seen, in
the past few months,  some S16 bolex for sale online from US east
coast used camera websites. The time element may be a problem with
those.

2020-06-26 16:14 GMT-04:00, patricia dauder :
> Hello.
>
> I'm Patricia Dauder from Barcelona.
>
> I'm looking for a S16mm Bolex, for a new film project in the Azores
> Islands.
>
> Since I'm travelling and filming on my own, I've decided to get a Bolex
> (rather small)
> but one of the latest models with a bright viewfinder, and bayo mount. I'm
> actually specfically looking for an SBM, because I prefer the spring motor
> than the later electronic version (EL).
>
> I'm also looking for a zoom that covers S16mm (Angenieux 15-150nn or Kern
> Vario Switar 12.5-1oomm) and a couple of primes, a wide angle and a micro
>
> If anyone has any of this and is interested in selling , please I'd
> appreciate if you can contact me at the email below:
>
> pdau...@hotmail.com
> Phone: +34 646316992
>
> Cheers,
>
>
> Patricia Dauder
> www.patriciadauder.net
> T. +34 646316992
>
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Re: [Frameworks] Luther Price RIP

[Francisco Torres]

2020-06-16 16:43 GMT-04:00, Francisco Torres :
> Lecture by Luther Price  November 7, 2012
>
> https://www.youtube.com/watch?v=UlhnhTPvuFo
>
>
>
>
>
> 2020-06-16 15:47 GMT-04:00, Eric Theise :
>> Tom Rhoads, wasn't it? First time I encountered his films that was the
>> name
>> under which they were distributed.
>>
>>
>> On Tue, Jun 16, 2020 at 12:36 PM Dominic Angerame <
>> dominic.anger...@gmail.com> wrote:
>>
>>> The prints that are at Canyon Cinema SODOM, GREEN and WARM BROTH may be
>>> the only copies. He also used the name Jason Rhoades.
>>> Dominic
>>>
>>>
>>>
>>>
>>> On Jun 16, 2020, at 12:25 PM, Dan Anderson  wrote:
>>>
>>> One of the most mysterious figures in the business. As the legend goes,
>>> he
>>> had a pseudonym or two (?)
>>> Hopefully his works get preserved and written about more. Truly on the
>>> radical edge of avant-garde film.
>>>
>>>
>>> On Tue, Jun 16, 2020 at 1:48 PM Dominic Angerame <
>>> dominic.anger...@gmail.com> wrote:
>>>
>>>> I am also sad to hear this news his work was very explosive I only knew
>>>> him thru my dealings with at Canyon Cinema
>>>>
>>>> On Tue, Jun 16, 2020 at 11:28 AM  wrote:
>>>>
>>>>> I'm very sorry to hear that.  The intensity of his work was profound,
>>>>> a
>>>>> revelation about what experimental film can be.
>>>>>
>>>>>
>>>>> On 2020-06-16 11:56, Warren Cockerham wrote:
>>>>> > One of the biggest hearts of any human
>>>>> >
>>>>> >> On Jun 16, 2020, at 10:57 AM, Esperanza Collado
>>>>> >>  wrote:
>>>>> >
>>>>> >> 
>>>>> >>
>>>>> >> Hi all,
>>>>> >>
>>>>> >> I just heard that Luther Price passed away but don't know the
>>>>> >> reason. I only met him once in 2017 in A Coruña and we had the most
>>>>> >> bizarre conversation in a jazz bar. Ed Halter was with him and took
>>>>> >> care of him, I don't know much more but I thought I would share
>>>>> >> here. There certainly was an aura of mystery around him.
>>>>> >>
>>>>> >> Best,
>>>>> >>
>>>>> >> --
>>>>> >>
>>>>> >> Esperanza Collado
>>>>> >> www.esperanzacollado.net [1]
>>>>> >> ___
>>>>> >> FrameWorks mailing list
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>>>>> >> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>>> >
>>>>> >
>>>>> > Links:
>>>>> > --
>>>>> > [1] http://www.esperanzacollado.net
>>>>> > ___
>>>>> > FrameWorks mailing list
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>>>>> ___
>>>>> FrameWorks mailing list
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>>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>>>
>>>> ___
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>>>
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>>
>
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Re: [Frameworks] Source for pdf's?

[Francisco Torres]

this may be helpful if you are enrolled at a university -

https://scholar.google.com/

if you find any book using google scholar  then you can get it through
your univ. library computer system. it is legal and free because the
univ. pays for those databases. i have found many books that way

2020-06-09 16:08 GMT-04:00, Justin Rhody :
> Anyone know where I can find pdf's of these books?
> (or pdf's of other books you'd recommend?)
>
>
> Experimental Filmmaking : Break the Machine - Kathryn Ramey
> Process Cinema: Handmade Film in the Digital Age - Scott MacKenzie & Janine
> Marchessault
> Grafilm - J. Bryne Daniel
> Experimental filmmaking and the Motion Picture Camera - Joel Schlemowitz
> Making Images Move: Handmade Cinema and the Other Arts - Gregory Zinman
>
>
> Thanks, Justin
>
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Re: [Frameworks] 16mm Film Projector

[Francisco Torres]

well, if after getting the projector from free they do not want to
spend money on basic maint. then they do not know what film is all
about.  these are mechanical devices, like cars. if you get a car for
free you still have to take it to a shop for basic stuff or if you
know how to do it you do it yourself. either way you have to do it.
the reason i sugested the freebies is that in my experience they
usually belonged to an institution so at least they got some form of
regular care at some point in the past as opposed to being owned by an
individual that maybe did not have the means or even the interest to
do it.
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Re: [Frameworks] 16mm Film Projector

[Francisco Torres]

Bud: Credit is a sacred trust. It's what our free society was founded
on! Do you think they give a damn about their bills in Russia? [Otto,
dozing , does not answer] I said, "Do you think they give a damn about
their bills in Russia?"
Otto Maddox (wakes up): They don't pay bills in Russia. It's all free!
Bud: Free, my ass. What are you, a fuckin' Commie?
Otto Maddox: No, I ain't no Commie!
Bud: I don't want no Commies in my car!... No Christians, either!


2020-06-06 16:43 GMT-04:00, Francisco Torres :
> yeah but those cost MONEY. i mean freebies! nothing beeter than a
> freebie. as JK Galbraith said in his nobel prize (price?) speech- ''
> you cant compete with free""
>
> 2020-06-06 10:39 GMT-04:00, Christopher Ball :
>> I often see them in 2nd hand stores, pawn shops, or army surplus stores
>>
>> On Sun, May 31, 2020 at 8:35 PM Francisco Torres 
>> wrote:
>>
>>> ---universities and public libraries may have projectors for free.
>>>
>>> 2020-05-31 16:17 GMT-04:00, Scott Dorsey :
>>> > There are lots of free projectors out there... and people buy them but
>>> > then find out that a PM is going to cost them money.  Budget some
>>> > money
>>> > to clean up a projector that has not been run in decades.  Even if it
>>> > has
>>> > very few hours on it, it's going to need cleaning and lubrication and
>>> > rubber parts will be old and cracked.
>>> > --scott
>>> > ___
>>> > FrameWorks mailing list
>>> > FrameWorks@jonasmekasfilms.com
>>> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>>> >
>>> ___
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>>>
>>
>
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Re: [Frameworks] 16mm Film Projector

[Francisco Torres]

yeah but those cost MONEY. i mean freebies! nothing beeter than a
freebie. as JK Galbraith said in his nobel prize (price?) speech- ''
you cant compete with free""

2020-06-06 10:39 GMT-04:00, Christopher Ball :
> I often see them in 2nd hand stores, pawn shops, or army surplus stores
>
> On Sun, May 31, 2020 at 8:35 PM Francisco Torres 
> wrote:
>
>> ---universities and public libraries may have projectors for free.
>>
>> 2020-05-31 16:17 GMT-04:00, Scott Dorsey :
>> > There are lots of free projectors out there... and people buy them but
>> > then find out that a PM is going to cost them money.  Budget some money
>> > to clean up a projector that has not been run in decades.  Even if it
>> > has
>> > very few hours on it, it's going to need cleaning and lubrication and
>> > rubber parts will be old and cracked.
>> > --scott
>> > ___
>> > FrameWorks mailing list
>> > FrameWorks@jonasmekasfilms.com
>> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>> >
>> ___
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>
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Re: [Frameworks] 16mm Film Projector

[Francisco Torres]

---universities and public libraries may have projectors for free.

2020-05-31 16:17 GMT-04:00, Scott Dorsey :
> There are lots of free projectors out there... and people buy them but
> then find out that a PM is going to cost them money.  Budget some money
> to clean up a projector that has not been run in decades.  Even if it has
> very few hours on it, it's going to need cleaning and lubrication and
> rubber parts will be old and cracked.
> --scott
> ___
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Re: [Frameworks] 16mm Film Projector

[Francisco Torres]

hope you find one soon
sometimes public / private schools have some lingering in AV rooms
gathering dust that they are eager to get rid of.
some people i know have gotten theirs that way after a few phone calls.

2020-05-30 22:22 GMT-04:00, Chris Rodriguez :
> I saw the post you’re talking about, he needed to get rid of it asap and I
> wasn’t in NYC so it didn’t work out :/
>
> On Sat, May 30, 2020 at 9:19 PM Francisco Torres 
> wrote:
>
>> a recent thread here  read ''Free Siemens 16mm projector (NYC) ''
>>
>> 2020-05-30 21:49 GMT-04:00, Chris Rodriguez
>> :
>> > Hey everyone,
>> >
>> > Im in the market for a 16 mm film projector but my budget is not super
>> > flexible, if anyone has one they want to get rid of, or if someone can
>> > point me toward some cheap equipment it’d be much appreciated. I’m not
>> > picky about make or model, anything helps!
>> >
>> > Thanks,
>> >
>> > Chris Rodríguez
>> >
>> ___
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Re: [Frameworks] 16mm Film Projector

[Francisco Torres]

a recent thread here  read ''Free Siemens 16mm projector (NYC) ''

2020-05-30 21:49 GMT-04:00, Chris Rodriguez :
> Hey everyone,
>
> Im in the market for a 16 mm film projector but my budget is not super
> flexible, if anyone has one they want to get rid of, or if someone can
> point me toward some cheap equipment it’d be much appreciated. I’m not
> picky about make or model, anything helps!
>
> Thanks,
>
> Chris Rodríguez
>
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Re: [Frameworks] Windex Developing 35 still film

[Francisco Torres]

why stop at chemicals, why not mild radiation? like putting an old
alarm clock (from the 1930s/40s) dial near the cartridge . as long as
the glow in the dark paint does not flake it should be safe. also keep
the glass over the dial.
maybe it has been done before...

2020-05-27 10:02 GMT-04:00, Francisco Torres :
> and for the most daring.
>
> https://www.amazon.com/PHCC-PRO-SERIES-Battery-Acid/dp/B01M0RQ76Q
>
> 2020-05-27 9:56 GMT-04:00, Francisco Torres :
>> soupers should try burying undeveloped rolls for a while. it worked
>> like a charm with eggs for hallo'ween... not that i did it myself,
>> ever
>>
>> 2020-05-27 7:19 GMT-04:00, Nicole Baker :
>>> Coca Cola is a favorite for soupers! I've seen some really beautiful
>>> results on still film. I tried it in motion picture film and the results
>>> were... less inspiring.
>>>
>>> Nicole Elaine Baker Peterson
>>> MFA in Visual Studies, 2019
>>> Pacific Northwest College of Art
>>> Hallie Ford School of Graduate Studies
>>> *www.magiklantern.com <http://www.magiklantern.com>*
>>>
>>>
>>>
>>>
>>> On Wed, May 27, 2020 at 12:46 AM Francisco Torres 
>>> wrote:
>>>
>>>> '',,,create inclusions, color warping, and other "off" elements ...''
>>>> ammonia would do that for sure. maybe car battery acid or coca cola
>>>> also!
>>>>
>>>> 2020-05-26 2:03 GMT-04:00, Nicole Baker :
>>>> > It's possible what they're doing is "souping" the film. That's where
>>>> > you
>>>> > expose it to chemicals or other substances that will create
>>>> > inclusions,
>>>> > color warping, and other "off" elements when you develop it.
>>>> >
>>>> > On Tue, May 26, 2020, 1:19 AM Francisco Torres 
>>>> > wrote:
>>>> >
>>>> >> i would not do that. windex is mostly ammonia, right?
>>>> >> ___
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>>>> >>
>>>> >
>>>> ___
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>>>>
>>>
>>
>
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Re: [Frameworks] Windex Developing 35 still film

[Francisco Torres]

and for the most daring.

https://www.amazon.com/PHCC-PRO-SERIES-Battery-Acid/dp/B01M0RQ76Q

2020-05-27 9:56 GMT-04:00, Francisco Torres :
> soupers should try burying undeveloped rolls for a while. it worked
> like a charm with eggs for hallo'ween... not that i did it myself,
> ever
>
> 2020-05-27 7:19 GMT-04:00, Nicole Baker :
>> Coca Cola is a favorite for soupers! I've seen some really beautiful
>> results on still film. I tried it in motion picture film and the results
>> were... less inspiring.
>>
>> Nicole Elaine Baker Peterson
>> MFA in Visual Studies, 2019
>> Pacific Northwest College of Art
>> Hallie Ford School of Graduate Studies
>> *www.magiklantern.com <http://www.magiklantern.com>*
>>
>>
>>
>>
>> On Wed, May 27, 2020 at 12:46 AM Francisco Torres 
>> wrote:
>>
>>> '',,,create inclusions, color warping, and other "off" elements ...''
>>> ammonia would do that for sure. maybe car battery acid or coca cola
>>> also!
>>>
>>> 2020-05-26 2:03 GMT-04:00, Nicole Baker :
>>> > It's possible what they're doing is "souping" the film. That's where
>>> > you
>>> > expose it to chemicals or other substances that will create
>>> > inclusions,
>>> > color warping, and other "off" elements when you develop it.
>>> >
>>> > On Tue, May 26, 2020, 1:19 AM Francisco Torres 
>>> > wrote:
>>> >
>>> >> i would not do that. windex is mostly ammonia, right?
>>> >> ___
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>>> >> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>> >>
>>> >
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>>>
>>
>
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Re: [Frameworks] Windex Developing 35 still film

[Francisco Torres]

soupers should try burying undeveloped rolls for a while. it worked
like a charm with eggs for hallo'ween... not that i did it myself,
ever

2020-05-27 7:19 GMT-04:00, Nicole Baker :
> Coca Cola is a favorite for soupers! I've seen some really beautiful
> results on still film. I tried it in motion picture film and the results
> were... less inspiring.
>
> Nicole Elaine Baker Peterson
> MFA in Visual Studies, 2019
> Pacific Northwest College of Art
> Hallie Ford School of Graduate Studies
> *www.magiklantern.com <http://www.magiklantern.com>*
>
>
>
>
> On Wed, May 27, 2020 at 12:46 AM Francisco Torres 
> wrote:
>
>> '',,,create inclusions, color warping, and other "off" elements ...''
>> ammonia would do that for sure. maybe car battery acid or coca cola
>> also!
>>
>> 2020-05-26 2:03 GMT-04:00, Nicole Baker :
>> > It's possible what they're doing is "souping" the film. That's where
>> > you
>> > expose it to chemicals or other substances that will create inclusions,
>> > color warping, and other "off" elements when you develop it.
>> >
>> > On Tue, May 26, 2020, 1:19 AM Francisco Torres 
>> > wrote:
>> >
>> >> i would not do that. windex is mostly ammonia, right?
>> >> ___
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>> >> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> >>
>> >
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Re: [Frameworks] Windex Developing 35 still film

[Francisco Torres]

'',,,create inclusions, color warping, and other "off" elements ...''
ammonia would do that for sure. maybe car battery acid or coca cola
also!

2020-05-26 2:03 GMT-04:00, Nicole Baker :
> It's possible what they're doing is "souping" the film. That's where you
> expose it to chemicals or other substances that will create inclusions,
> color warping, and other "off" elements when you develop it.
>
> On Tue, May 26, 2020, 1:19 AM Francisco Torres 
> wrote:
>
>> i would not do that. windex is mostly ammonia, right?
>> ___
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>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>
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Re: [Frameworks] Windex Developing 35 still film

[Francisco Torres]

i would not do that. windex is mostly ammonia, right?
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Re: [Frameworks] Quote of the Day

[Francisco Torres]

yeah, at least Resnais seemed to take it 50% straight, 50 percent as a
joke That movie sure felt like reading a comic book! He was into
comics, I missed him a lot. Sur made some of the greatest narrative
films ever.

2020-05-06 23:10 GMT-04:00, Robert Schaller :
> Thank you, Francisco!  That's probably what it was.  Evolutionary Psychology
> of Henri Laborit, not Sociobiology of E.O. Wilson.  Not dissimilar projects
> though, it would seem.
>
>> On May 5, 2020, at 11:56 AM, Francisco Torres 
>> wrote:
>>
>> Could be the American Uncle by Resnais. Which if I recall well takes a
>> rather conflicting and comple view of its subject. But then he was
>> French... ;)
>>
>>
>> ''Who decides?  Who decides who decides?'' Reminds me of the final
>> scene of 3 days of the Condor.
>>
>> The only movie about epidemics I like is The Andromeda Strain. The
>> third act reveal is quite a shock even after almost 50 years. In one
>> brief scene it manages to say so much ! but that was the 70s, SF
>> movies were very HEAVY. Take Rollerball, for example. Today it looks
>> like a reality show or the evening news. Oh well. This are sure some
>> messed up times I never thought I would live through some entropic
>> thing like this. Nuclear war? Yes. Mad Max?  Yes. But this slow motion
>> Ballard catastrophe? No way.
>> So back to the ancients for advice-
>> ''The Way of the Samurai is found in death. Meditation on inevitable
>> death should be performed daily. Every day when one's body and mind
>> are at peace, one should meditate upon being ripped apart by arrows,
>> rifles, spears and swords, being carried away by surging waves, being
>> thrown into the midst of a great fire, being struck by lightning,
>> being shaken to death by a great earthquake, falling from
>> thousand-foot cliffs, dying of disease or committing seppuku at the
>> death of one's master. And every day without fail one should consider
>> himself as dead. This is the substance of the way of the samurai''.
>> Yamamoto Tsunetomo,
>> ___
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>
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Re: [Frameworks] Quote of the Day

[Francisco Torres]

I wiil watch it soon, thanks. Which reminded me that there is a soviet
era animated Stephen King short! It is interesting, I never imagined
that they were into his work

https://www.youtube.com/watch?v=G0o_2PPsBw0

another quote-

''It became necessary to destroy the town to save it''.
Attributed to an unnamed United States major, referring to the bombing
of Ben Tre, South Vietnam, 1968

2020-05-05 15:29 GMT-04:00, Scott Dorsey :
>> The only movie about epidemics I like is The Andromeda Strain.
>
> Andromeda Strain is a great, great film.  However I urge you to watch
> this short film of Steven King's story "Night Surf" which I think is
> quite well-done:
>
> https://www.youtube.com/watch?v=LaDu0agqtjc
>
> --scott
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Re: [Frameworks] Quote of the Day

[Francisco Torres]

Could be the American Uncle by Resnais. Which if I recall well takes a
rather conflicting and comple view of its subject. But then he was
French... ;)


''Who decides?  Who decides who decides?'' Reminds me of the final
scene of 3 days of the Condor.

The only movie about epidemics I like is The Andromeda Strain. The
third act reveal is quite a shock even after almost 50 years. In one
brief scene it manages to say so much ! but that was the 70s, SF
movies were very HEAVY. Take Rollerball, for example. Today it looks
like a reality show or the evening news. Oh well. This are sure some
messed up times I never thought I would live through some entropic
thing like this. Nuclear war? Yes. Mad Max?  Yes. But this slow motion
Ballard catastrophe? No way.
So back to the ancients for advice-
''The Way of the Samurai is found in death. Meditation on inevitable
death should be performed daily. Every day when one's body and mind
are at peace, one should meditate upon being ripped apart by arrows,
rifles, spears and swords, being carried away by surging waves, being
thrown into the midst of a great fire, being struck by lightning,
being shaken to death by a great earthquake, falling from
thousand-foot cliffs, dying of disease or committing seppuku at the
death of one's master. And every day without fail one should consider
himself as dead. This is the substance of the way of the samurai''.
Yamamoto Tsunetomo,
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Re: [Frameworks] Quote of the Day

[Francisco Torres]

What bothered me the most was-
''We have created a Star Wars civilization, with Stone Age emotions...''
''We''? Also I do not see ''stone age emotions'' as negative, we may
need more of those and less ''civilization''.

2020-05-03 19:51 GMT-04:00, Robert Schaller :
> I just read a story in the Thousand and One Nights, in which a prince
> survives many disasters in which others die, and was judged blameless
> because "so it was written."  I thought, that's an awfully convenient thing
> to be able to say if you happen to be one of those on top already!
>
> Then I read Fransisco's criticism of Wilson, and find similar words in his
> objection.  This feels almost like a dream, this time we're in.  It seems to
> affirm the rather evocative description of the human condition in what Gene
> actually quoted from Wilson.  Time and life have become dreamlike, and the
> world notably chaotic.  I talked to a friend on the phone the other day, and
> felt like I had just seen him, in person -- but, no, it had only been a
> video conference.  Even though I know I've been home for almost two months,
> I had to think about it!
>
> And I am grateful for Francisco's criticism, for it prodded me to at least
> minimally read more about E.O Wilson, whom I had really only known as a
> name.  While I don't see it in this particular quotation, he lays out what
> seems like a reasonable line of criticism.
>
>> On May 2, 2020, at 11:21 PM, Francisco Torres 
>> wrote:
>>
>> It seems harsh to put the responsability of our current situation on
>> all of humanity when actually it is the product of decisions taken
>> since ancient times by those in power and not by anything like ''human
>> nature''. If today the Amazon burns and African rainforest are razen
>> it is because decisions taken in boardrooms and presidential palaces
>> and, if we want to go further back, when Columbus and Da Gama got
>> money and ships to ''discover'' America and Africa...
>>
>> But that is a political view of history, one that seems to be rapidly
>> being replaced by others like the one created by Mr. Edward O. Wilson,
>> Sociobiology.  In Sociobiology we humans have no other choice but to
>> compete against each other without any hope of ever getting out of the
>> systems of control and explotation created by the state and capital.
>> After all it is our genes who are on the driver seat, selfish genes
>> who only care for their replication. So why despair about domination
>> and destruction of all of nature then?  A very useful ideology to
>> those sitting at the top of the heap because it makes them feel better
>> by liberating them of responsability and for the rest of us who expect
>> to accept the rule power as the only possible way of living. ''Dont
>> worry, if it is just the way of nature, the strong survive and the
>> weak perish, either on the forest or the stock market''. That sounds
>> just like the words  the priestly caste have been feeding us since
>> Babylon.
>> ___
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>
>
>
>>> “Humanity today <http://airmail.calendar/2020-02-20%2012:00:00%20MST> is
>>> like a waking dreamer, caught between the fantasies of sleep and the
>>> chaos of the real world. The mind seeks but cannot find the precise place
>>> and hour. We have created a Star Wars civilization, with Stone Age
>>> emotions, medieval institutions, and godlike technology. We thrash about.
>>> We are terribly confused by the mere fact of our existence, and a danger
>>> to ourselves and to the rest of life.”
>>>~ Edward O. Wilson
>>>
>
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Re: [Frameworks] Quote of the Day

[Francisco Torres]

It seems harsh to put the responsability of our current situation on
all of humanity when actually it is the product of decisions taken
since ancient times by those in power and not by anything like ''human
nature''. If today the Amazon burns and African rainforest are razen
it is because decisions taken in boardrooms and presidential palaces
and, if we want to go further back, when Columbus and Da Gama got
money and ships to ''discover'' America and Africa...

But that is a political view of history, one that seems to be rapidly
being replaced by others like the one created by Mr. Edward O. Wilson,
Sociobiology.  In Sociobiology we humans have no other choice but to
compete against each other without any hope of ever getting out of the
systems of control and explotation created by the state and capital.
After all it is our genes who are on the driver seat, selfish genes
who only care for their replication. So why despair about domination
and destruction of all of nature then?  A very useful ideology to
those sitting at the top of the heap because it makes them feel better
by liberating them of responsability and for the rest of us who expect
to accept the rule power as the only possible way of living. ''Dont
worry, if it is just the way of nature, the strong survive and the
weak perish, either on the forest or the stock market''. That sounds
just like the words  the priestly caste have been feeding us since
Babylon.
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Re: [Frameworks] Criterion Channel

[Francisco Torres]

not if the ip adress is not within the license area of the films

2020-04-24 13:19 GMT-04:00, giuseppe boccassini :
> Hi,
> anyone from USA want to share The Criterion Channe
> l ?
> I cannot activate it from Europe. As far as I know one can use it on two
> devices simultaneously.
>
> Please let me know
> All the best
> Giuseppe
>
> --
> Giuseppe Boccassini
> *the tension to the invisible*
>
> filmmaker 
> lightcone 
> VOD 
> fracto
> 
>
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Re: [Frameworks] Trump Virus

[Francisco Torres]

''The truth hurts doesn't it, Hapsburg. Oh sure, maybe not as much as
jumping on a bicycle with the seat missing, but it hurts.''

2020-03-31 7:41 GMT-04:00, andre.coli...@telenet.be :
> Thanks Christopher!!!
> - Mail d’origine -
> De: christopher nigel 
> À: Experimental Film Discussion List 
> Envoyé: Tue, 31 Mar 2020 13:15:03 +0200 (CEST)
> Objet: Re: [Frameworks] Trump Virus
>
> You should quote & give credit to who's song this is ? The clash
> Songwriters: Joe Strummer / Mick Jones / Paul Simonon / Topper Headon
>
> On Tue, Mar 31, 2020 at 12:48 AM Francisco Torres 
> wrote:
>>
>> Yankee soldier
>> He want to shoot some skag
>> He met it in Cambodia, but now
>> He can't afford a bag
>>
>> Yankee dollar talk
>> To the dictators of the world
>> In fact it's giving orders
>> An' they can't afford to miss a word
>>
>> I'm so bored with the U.S.A.
>> I'm so bored with the U.S.A.
>> But what can I do?
>>
>> Yankee detectives
>> Are always on the TV
>> 'Cause killers in America work
>> Seven days a week
>>
>> Never mind the stars and stripes
>> Let's print the Watergate Tapes
>> I'll salute the New Wave
>> And I hope nobody escapes
>>
>> I'm so bored with the U.S.A.
>> I'm so bored with the U.S.A.
>> But what can I do?
>>
>> I'm so bored with the U.S.A.
>> I'm so bored with the U.S.A.
>> But what can I do?
>>
>> I'm so bored with the U.S.A.
>> I'm so bored with the U.S.A.
>> I'm so bored with the U.S.A.
>> But what can I do?
>>
>> Move up, Starsky
>> For the C.I.A.
>> Suck on Kojak
>> For the USA
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Re: [Frameworks] Trump Virus

[Francisco Torres]

Yankee soldier
He want to shoot some skag
He met it in Cambodia, but now
He can't afford a bag

Yankee dollar talk
To the dictators of the world
In fact it's giving orders
An' they can't afford to miss a word

I'm so bored with the U.S.A.
I'm so bored with the U.S.A.
But what can I do?

Yankee detectives
Are always on the TV
'Cause killers in America work
Seven days a week

Never mind the stars and stripes
Let's print the Watergate Tapes
I'll salute the New Wave
And I hope nobody escapes

I'm so bored with the U.S.A.
I'm so bored with the U.S.A.
But what can I do?

I'm so bored with the U.S.A.
I'm so bored with the U.S.A.
But what can I do?

I'm so bored with the U.S.A.
I'm so bored with the U.S.A.
I'm so bored with the U.S.A.
But what can I do?

Move up, Starsky
For the C.I.A.
Suck on Kojak
For the USA
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Re: [Frameworks] meditative films?

[Francisco Torres]

most of Ken Jacobs films...

2019-12-12 12:15 GMT-04:00, Scott Dorsey :
> First of all, this is a metafilm, some hollywood propaganda, and it is
> not meditative at all, but it is a thing that students should see in any
> introduction to film class:
>
> http://www.youtube.com/watch?v=DhhnFP1GWHI
>
> The youtube version looks terrible, if anyone knows of a better one I would
> love to see it.
>
> I guess I think of Jordan Belson's _Cycles_ as the kind of thing you are
> looking for.  Pennebaker's _Daybreak Express_ is a cool and beautiful film
> that starts slow, then becomes very upbeat and exciting, but then becomes
> slow and quiet again at the end.
>
> McLaren's _A Chairy Tale_ is kind of weird and might be a bit long for
> keeping students attention, but I think it makes a point about being
> loved and appreciated.
>
> Keaton's _The Railrodder_ is on youtube and it is in many ways a kind of
> slow and contemplative film.   https://www.youtube.com/watch?v=xYmcN12M97o
> May require some explanation about swimming the atlantic and so forth.
>
> So many of the abstract films I can think of are anything but slow and
> contemplative...
> --scott
>
>
>
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Re: [Frameworks] SMALL KITCHENS • cooking under the 7 train • preview, Dec 14, in Queens

[Francisco Torres]

interesting subject, very blade runner... too bad i cant make it but
sure would like to watch eventually

2019-12-10 11:45 GMT-04:00, Seth Fein :
> Saturday evening, December 14, I will preview *Small Kitchens*
> , a (25 min)
> artdoc that examines work in confined cooking spaces beneath the 7 train in
> Queens. The screening is at *Terraza 7
> 
> *near
> where I shot the work, between a Nepali and a Mexican establishment, a few
> blocks from each other, between Jackson Heights and Emhurst.
>
> Seth Fein
> sevenlocalfilm.com
>
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Re: [Frameworks] N

[Francisco Torres]

prequel...

2019-10-05 14:56 GMT-04:00, Scott Dorsey :
> I didn't think it was all that great, but the sequel with Peter Lorre was
> wonderful.
> --scott
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Re: [Frameworks] road movies

[Francisco Torres]

Thanks for the link.

2019-07-23 17:11 GMT-04:00, Philip Brubaker :
> Here is my contribution to the query about road movies.  I made a succinct
> video essay about the road movies of Wim Wenders:
>
> Wim Wenders & the possibilities of the road
> https://vimeo.com/284232725
>
> --
> --
> Philip Brubaker
> Filmmaker
>
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Re: [Frameworks] Film Festivals

[Francisco Torres]

Well, there are festivals of all kinds, it all depends on the overall
release strategy for a particular film.
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Re: [Frameworks] Narratives of Copyright Play

[Francisco Torres]

there is this book-
Cutting Across Media
Appropriation Art, Interventionist Collage, and Copyright Law

https://www.dukeupress.edu/cutting-across-media

2019-05-03 5:14 GMT-07:00, Seth Pimlott :
> Hi Bernie,
>
> You must read this: Erika Balsom’s ‘After Uniqueness: A History of Film and
> Video Art in Circulation’
> 
>
> Extremely relevant to discussions of intellectual property/copying
> technologies/copyright connected to artist moving image, and extremely good
> too :)
>
> I wrote a review
> 
> for Art Monthly in the UK when it was released that might give a sense of
> it.
>
> All best,
>
> Seth
>
> On Fri, 3 May 2019 at 02:50, Bernard Roddy  wrote:
>
>> Hey everyone:
>>
>> I'm teaching a course in a computer science program in which I devote a
>> week to intellectual property. The use of found footage became more
>> interesting as a result of looking for cases with which to raise ethical
>> debate and present new terms of analysis.
>>
>> In a slight departure from the expected narrative of the ethical dilemma
>> faced in employment circumstances by the computer programmer or data
>> analyst (security analysis seems to be the major to go wtih), I looking
>> at
>> a 2003 text from Artforum on the preservation of a film by Bruce Conner
>> (Crossroads, 1976). Has anyone seen this film?
>>
>> But also, are there other such sources that anyone can think of for this
>> kind of discussion? I am thinking of the whole matter of engaging a court
>> system but in terms that are sympathetic with moving image artistic
>> practice.
>>
>> Bernie
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>
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Re: [Frameworks] Digibeta to digital

[Francisco Torres]

The only video tape format people seem to be fond of is pxl-2000

2019-04-11 17:23 GMT-07:00, Christopher Ball :
> Yep, tape was a real step backward in so many ways.  It's poor performance
> is really why film lasted so long.
>
> On Thu, Apr 11, 2019 at 12:36 PM Francisco Torres 
> wrote:
>
>> Digibeta, the last video tape format. Good riddance.
>> https://obsoletemedia.org/digital-betacam/
>>
>> 2019-04-09 14:50 GMT-04:00, Dominic Angerame
>> :
>> > Thanks Eric, this project is being funded by a third party. Digital
>> > Revolution can transfer the Digibeta and Digibeta SP tapes, what a
>> > dumb,
>> > expensive, format digibeta  seem that seemed to be in the past.
>> >
>> > Dominic
>> >
>> >> On Apr 9, 2019, at 11:44 AM, Eric Theise  wrote:
>> >>
>> >> Hi Dominic,
>> >>
>> >> If you have time and a number of tapes I'd encourage you to look into
>> >> BAVC's Preservation Access Program. They accept applications twice
>> yearly
>> >> and the spring cycle is open until 21 April. I was accepted into the
>> >> program a year ago and they were able to recover a variety of work for
>> me
>> >> on MiniDV and Hi8. It is expensive even with ~70% of the cost covered
>> >> by
>> >> the Mellon Foundation and the backlog is such that it might be 9-12
>> months
>> >> before you get your hard drive back. But they seem to have equipment
>> >> for
>> >> every format known to humankind and super skilled & passionate people
>> >> working there who'll do a great job for you.
>> >>
>> >> Info at https://bavc.org/preserve-media/preservation-access-program
>> >> <https://bavc.org/preserve-media/preservation-access-program>
>> >>
>> >> They're also set up to do one-offs outside of PAP but you'll face the
>> same
>> >> backlog.
>> >>
>> >> At the time I was looking to recover that MiniDV work this other place
>> was
>> >> suggested to me:
>> >>   Express Media
>> >>   2225 Palou Avenue
>> >>   San Francisco, CA 94124
>> >>   PHONE: 415-255-9883
>> >>   https://expressmedia.tv/post-production/duplication-and-graphics/
>> >> <https://expressmedia.tv/post-production/duplication-and-graphics/>
>> >>
>> >> Others may wish to chime in here but I'm under the impression that
>> >> Digibeta, while good for the time, is an inferior format if you have
>> film
>> >> elements and are able get a contemporary scan.
>> >>
>> >> Related to contemporary scans I'll toot my own horn and say that I was
>> >> fortunate to be a recipient of one of those Interbay Cinema Society
>> >> Lightpress Grants that Jon Behrens posts about. Previously, the only
>> scan
>> >> I had of my cameraless film, Hojas de Maíz, made in the days when
>> >> previewing was via snail-mailed VHS tapes, was Digibeta and that
>> >> pretty
>> >> much left the film in limbo. But now that there's a lovely scan
>> available
>> >> (https://erictheise.com/films/hojas-de-maiz/
>> >> <https://erictheise.com/films/hojas-de-maiz/>) it's got a new lease on
>> >> life, and I was gratified when Stefano Miraglia almost immediately
>> curated
>> >> into it the Moving Image Catalog project.
>> >>
>> >> Eric
>> >>
>> >>
>> >> On Tue, Apr 9, 2019 at 6:18 AM Dominic Angerame
>> >> mailto:dominic.anger...@gmail.com>>
>> >> wrote:
>> >> Does anyone know of a great lab here in San Francisco who can digitize
>> >> Digibeta HP tapes.
>> >>
>> >> Thanks
>> >>
>> >> Dominic
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>> >
>> >
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Re: [Frameworks] Digibeta to digital

[Francisco Torres]

right! both sony. but tape is deader than film for sure

2019-04-11 14:24 GMT-04:00, FrameWorks Admin :
> HDCam-SR is the last video tape format isn’t it?
> I think both are great!
> Pip Chodorov
>
>
>
>> On Apr 11, 2019, at 6:35 PM, Francisco Torres 
>> wrote:
>>
>> Digibeta, the last video tape format. Good riddance.
>> https://obsoletemedia.org/digital-betacam/
>> <https://obsoletemedia.org/digital-betacam/>
>>
>
>
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Re: [Frameworks] tips for shooting on print stock?

[Francisco Torres]

hmmm i didnt know it was cheaper... have to look into it! thanks to
all for the tip. as usual, money is tight in film land

2019-03-21 12:07 GMT-04:00, trevor adams :
> Mr. Antos is correct, sir.  It's less than half the going rate of reversal.
> Also, this particular stock doesn't have the backing which makes
> hand-processing arduous (as it's been explained to me).  And ignorance is
> about the most cultivated quality in my work!
> Trevor Adams
> sinemodafatestare.com
>
>
> Sent from Outlook<http://aka.ms/weboutlook>
>
> 
> From: FrameWorks  on behalf of
> Julian Antos 
> Sent: Thursday, March 21, 2019 12:14 AM
> To: Experimental Film Discussion List
> Subject: Re: [Frameworks] tips for shooting on print stock?
>
> I think the appeal is that it’s much cheaper!
>
> On Wed, Mar 20, 2019 at 7:11 PM Francisco Torres
> mailto:fjtorre...@gmail.com>> wrote:
> pardon my ignorance but I have never understood the use of print stock
> as camera original. Would using reversal accomplish similar results?
>
> 2019-03-20 12:20 GMT-04:00, MONO NO AWARE
> mailto:mononoawaref...@gmail.com>>:
>> https://vimeo.com/290301242
>>
>> Results from our workshop.   A few water marks, but for their first time
>> in
>> the lab processing, to be cross processing and have these results its
>> pretty good, could have used a darker orange filter, but it was overcast
>> and we couldn't forfeit the light.
>>
>>
>> ◅
>> *MONO NO AWARE*
>> 501c3 Cinema Arts Non-Profit Organization est. 2007
>> | Film Stock | Equipment | Lab Facilities | Workshops |
>> a: 33 Flatbush Avenue, Brooklyn New York
>> <https://www.google.com/maps/dir//33+Flatbush+Ave,+Brooklyn,+NY+11217/@40.6877184,-73.9819882,17z/data=!4m17!1m7!3m6!1s0x89c25bb25464b153:0x663d26fd9a518085!2s33+Flatbush+Ave,+Brooklyn,+NY+11217!3b1!8m2!3d40.6877184!4d-73.9797995!4m8!1m0!1m5!1m1!1s0x89c25bb25464b153:0x663d26fd9a518085!2m2!1d-73.9797995!2d40.6877184!3e2>
>> e: mononoawarefilm.com<http://mononoawarefilm.com> c: +1 2674561143
>> <%2B1%20267%20456-1143> in:gram
>> <https://www.instagram.com/mononoawarefilm/>
>> <%2B1%20267%20456-1143>
>> press: New York Times
>> <https://www.nytimes.com/2017/07/11/nyregion/a-brooklyn-film-school-where-the-digital-revolution-didnt-happen.html>,
>> ViceTV
>> <https://video.vice.com/en_us/video/the-brooklyn-film-organization-bringing-analog-back-to-the-masses/584f0f243d8095724ccdaf1e>,
>> The Brooklyn Rail
>> <https://brooklynrail.org/2018/11/film/Mixed-Use-MONO-NO-AWARE>
>>
>>
>> On Wed, Mar 20, 2019 at 12:13 PM Anna Kipervaser
>> mailto:anna.kiperva...@gmail.com>>
>> wrote:
>>
>>> I am often shooting on 3383; I use an 85 filter (orange to compensate
>>> for
>>> lack of orange base in the stock and to get near true color) and rate
>>> 3383
>>> at 3. Then I process in Tetenal E6 in a lomo reel/tank. Recipe below.
>>>
>>> FD: 100 degrees F, 2:45min
>>> H2O: 5min, warm, not warmer than 100 degrees F
>>> CD: 100 degrees F, 6min
>>> H2O: 5min, warm, not warmer than 100 degrees F
>>> BLIX: 100 degrees F, 6min
>>> H2O: 10min, cool.
>>> Stabilizer out of tank: 30sec
>>> Shake reel
>>> Hang film to dry
>>>
>>> Also, Mono No Aware has had successful results with C41.
>>>
>>> Always,
>>>  Anna
>>>
>>>
>>>
>>> ---
>>> anna kipervaser
>>> 847.571.6943
>>>
>>> annakipervaser.com<http://annakipervaser.com>
>>> yellowfilmlab.com<http://yellowfilmlab.com>
>>> onlookfilms.com<http://onlookfilms.com>
>>>
>>>
>>>
>>>
>>> On Tue, Mar 19, 2019 at 9:03 AM
>>> mailto:frameworks-requ...@jonasmekasfilms.com>>
>>> wrote:
>>>
>>>> Send FrameWorks mailing list submissions to
>>>>
>>>> frameworks@jonasmekasfilms.com<mailto:frameworks@jonasmekasfilms.com>
>>>>
>>>> To subscribe or unsubscribe via the World Wide Web, visit
>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>> or, via email, send a message with subject or body 'help' to
>>>>
>>>> frameworks-requ...@jonasmekasfilms.com<mailto:frameworks-requ...@jonasmekasfilms.com>
>>>>
>>>> You can reach the person managing the list at
>>>>
>>>> frameworks-ow...@jonasmekasfilms.com<mailto:frameworks-ow...@jonasmekasfilms.

Re: [Frameworks] tips for shooting on print stock?

[Francisco Torres]

pardon my ignorance but I have never understood the use of print stock
as camera original. Would using reversal accomplish similar results?

2019-03-20 12:20 GMT-04:00, MONO NO AWARE :
> https://vimeo.com/290301242
>
> Results from our workshop.   A few water marks, but for their first time in
> the lab processing, to be cross processing and have these results its
> pretty good, could have used a darker orange filter, but it was overcast
> and we couldn't forfeit the light.
>
>
> ◅
> *MONO NO AWARE*
> 501c3 Cinema Arts Non-Profit Organization est. 2007
> | Film Stock | Equipment | Lab Facilities | Workshops |
> a: 33 Flatbush Avenue, Brooklyn New York
> 
> e: mononoawarefilm.com c: +1 2674561143 <%2B1%20267%20456-1143> in:gram
> 
> <%2B1%20267%20456-1143>
> press: New York Times
> ,
> ViceTV
> ,
> The Brooklyn Rail
> 
>
>
> On Wed, Mar 20, 2019 at 12:13 PM Anna Kipervaser
> 
> wrote:
>
>> I am often shooting on 3383; I use an 85 filter (orange to compensate for
>> lack of orange base in the stock and to get near true color) and rate
>> 3383
>> at 3. Then I process in Tetenal E6 in a lomo reel/tank. Recipe below.
>>
>> FD: 100 degrees F, 2:45min
>> H2O: 5min, warm, not warmer than 100 degrees F
>> CD: 100 degrees F, 6min
>> H2O: 5min, warm, not warmer than 100 degrees F
>> BLIX: 100 degrees F, 6min
>> H2O: 10min, cool.
>> Stabilizer out of tank: 30sec
>> Shake reel
>> Hang film to dry
>>
>> Also, Mono No Aware has had successful results with C41.
>>
>> Always,
>>  Anna
>>
>>
>>
>> ---
>> anna kipervaser
>> 847.571.6943
>>
>> annakipervaser.com
>> yellowfilmlab.com
>> onlookfilms.com
>>
>>
>>
>>
>> On Tue, Mar 19, 2019 at 9:03 AM 
>> wrote:
>>
>>> Send FrameWorks mailing list submissions to
>>> frameworks@jonasmekasfilms.com
>>>
>>> To subscribe or unsubscribe via the World Wide Web, visit
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>> or, via email, send a message with subject or body 'help' to
>>> frameworks-requ...@jonasmekasfilms.com
>>>
>>> You can reach the person managing the list at
>>> frameworks-ow...@jonasmekasfilms.com
>>>
>>> When replying, please edit your Subject line so it is more specific
>>> than "Re: Contents of FrameWorks digest..."
>>> Today's Topics:
>>>
>>>1. Re: Barbara Hammer, RIP (Dominic Angerame)
>>>2. tips for shooting on print stock? (trevor adams)
>>>3. Re: tips for shooting on print stock? (Scott Dorsey)
>>>4. Re: tips for shooting on print stock? (Nicole Baker)
>>>
>>>
>>>
>>> -- Forwarded message --
>>> From: Dominic Angerame 
>>> To: Experimental Film Discussion List 
>>> Cc:
>>> Bcc:
>>> Date: Mon, 18 Mar 2019 09:23:19 -0400
>>> Subject: Re: [Frameworks] Barbara Hammer, RIP
>>> I am so sorry to hear this. I worked with Barbara for many years while
>>> at
>>> Canyon Cinema and always admired her courage, strength and commitment to
>>> avant- cinema and women filmmakers around the world.
>>>
>>> Her dynamic energy is certainly a loss to the community.
>>>
>>> Dominic Angerame
>>>
>>> Sent from my iPhone
>>>
>>> On Mar 17, 2019, at 10:54 PM, Ruth Hayes  wrote:
>>>
>>> Hi all,
>>>
>>> I just want to acknowledge Barbara Hammer’s passing, her influence on so
>>> many experimental filmmakers, including myself, and her courage,
>>> playfulness and indomitable spirit.
>>>
>>> Peace,
>>>
>>> Ruth Hayes
>>>
>>> http://www.randommotion.com
>>>
>>> blogs.evergreen.edu/hayesr
>>>
>>> ___
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>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>>>
>>>
>>>
>>> -- Forwarded message --
>>> From: trevor adams 
>>> To: Experimental Film Discussion List 
>>> Cc:
>>> Bcc:
>>> Date: Mon, 18 Mar 2019 16:20:12 +
>>> Subject: [Frameworks] tips for shooting on print stock?
>>> Hiya one'n all,
>>>
>>> I'm seeking any advice/ tips for shooting on 3383 color vision print
>>> stock, with a bolex.  Everybody I've spoken to says use an ASA of 5, I'm
>>> not sure if i should even take light readings?  Anything would be
>>> helpful...
>>> Thanks,
>>> Trevor Adams
>>>
>>> Sent from Outlook 
>>>
>>>
>>>
>>> -- Forwarded message --
>>> From: Scott Dorsey 
>>> To: frameworks@jonasmekasfilms.com
>>> 

Re: [Frameworks] Free “junk” film

[Francisco Torres]

loop it!

2019-03-10 14:21 GMT-07:00, Martin Awano :
> Hey Julian,
>
> My name is Martin, I'm the ex-general chair of Doc -- I believe we've met
> before. Could I pick this up at some point?
>
> Warm regards,
> Martin
>
> On Sun, Mar 10, 2019 at 3:57 PM Julian Antos
> 
> wrote:
>
>> We have a small box of film which is too damaged or incomplete to be
>> useful to us, but would be great for things like scratch animation or
>> decorating a Christmas tree. If anyone can use this please write to me
>> off
>> list. You cover FedEx ground shipping.
>> --
>> Julian Antos
>> Chicago Film Society
>> www.chicagofilmsociety.org 
>> 773 827 8991 <(773)%20827-8991>
>>
>> ___
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>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>
>
> --
> martin awano
> www.martinawano.com
>
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Re: [Frameworks] Looking for 16mm projectors

[Francisco Torres]

at your university  the AV dept of another dept. may have some sitting
arround unused.

2019-01-15 17:47 GMT-05:00, Scott Dorsey :
> You don't say what you're looking for.  Classroom projectors?
> Theatre projectors?  I assume you need 16 and 24 fps both for typical
> showings.  I assume also you need something very light on film.
>
> I am a fan of the very old 300-series B projectors which are not very
> efficient or bright but run forveer if you keep them lubed and are very
> gentle on film and good about damaged films.
>
> The Eastman 25 is expensive and sought after but also very good about
> dealing with films in poor condition.
>
> If SIU is anywhere near Chicago, talk to Urbanski Films and see if they can
> recommend something locally.  They usually have some refurbished classroom
> projectors in stock.
>
> Full Aperture Systems, which will sell you a very expensive but very worth
> it
> Eastman 25, is also in chicago.
>
> Make sure that whatever you buy has a common lens mount because you will
> likely want a couple different lenses.  Avoid autoshred and slotloaders
> like the plague, but be aware 500-series B autoshredders and some Bauer
> autoshredders can be modified to make them manual load.
> --scott
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Re: [Frameworks] Inks and paints for clear leaders

[Francisco Torres]

back in the 80s i used sharpies, but i never printed the film i marked
so i dont know if it would had worked beyond the clear leader i worked
on. sharpies have dropped in price and are now made in many different
colors, back then there were only black, red, green and blue.

2019-01-09 19:42 GMT-05:00, lindsay mcintyre :
> You need alcohol-based transparent inks.  Dr. Martin's has good ones and
> there are some other good brands that are easier to find in craft stores,
> including Pinata Color Susan Pickering Rothanol signature line (made by
> Jacquard), Inkredible ink by jane davenport, and alcohol ink by Ranger.
> They are sometimes overpriced but make beautiful vibrant colours that can
> also be mixed together, used on both sides of the film, and (rarely)
> layered.
>
> Best,
>
> Lindsay McIntyre
>
>
> On Tue, Jan 8, 2019 at 5:34 PM Morgan Hoyle-Combs 
> wrote:
>
>> Hello all,
>>
>> Anyone who works in hand painted film must have an idea of inks and
>> paints
>> that are good for using on clear acetate or polyester leader. I'm looking
>> for the kind that can won't easily wash or flake off when dry. And for
>> the
>> moment, I'd like to stay away from markers and pens. I'm going to stick
>> with brushes.
>>
>> Any help would be appreciated!
>>
>> Thank you
>>
>> M
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Re: [Frameworks] Music in denis’ 35 rhums?

[Francisco Torres]

Philippe Bourorga music supervisor should know. He has a facebook account

https://www.imdb.com/name/nm4381316/?ref_=ttfc_fc_cr70

2018-12-27 6:22 GMT-05:00, jimmyschaus1 :
> Ok so it’s not experimental with a capital E but I’m desperate folks.
> Figure there’s enough “crossover” knowledge here.
>
> Does anyone happen to know the sad reggae song Gabrielle from Claire Denis’
> “35 Rhums” listens to 1.) while she eats soup in her cab at the beginning
> of the film and 2.) when her and the other characters are driving to the
> concert, and Lionel asks her to turn it down? It’s so so beautiful, and any
> writing on music in the film is limited to the (albeit wonderful) use of
> “night shift” by the commodores in the dancing scene at the bar. Thank
> you!!
>
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Re: [Frameworks] Old heads! A Paul at UPenn.

[Francisco Torres]

back then a lot of people were into that kinda ''stuff'... hell, in
the late 70s pbs used to air that sort of thing so it wasnt that rare
to meet such people. only by 84 or so it became dangerous to talk
about that sort of thing in public.

2018-12-15 23:54 GMT-04:00, John Muse :
> Hi, folks.  I met someone at a party who had been a student of a cinema
> person at UPenn, a Paul who would have taught experimental film, “flicker
> films” and "crazy stuff."  Likely in the 80’s.  Maybe affiliated with Cinema
> 16.
>
> Thoughts?
>
> Thanks!
>
> j
>
> *
>
> john muse
> visual media scholar
> haverford college
> he/him/his
> j=john PrM=Professor Muse
> http://www.finleymuse.com
> http://www.haverford.edu/faculty/jmuse
> http://haverford.academia.edu/JohnMuse
>
> *
>
>
>
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Re: [Frameworks] Cine-Kodak Special II

[Francisco Torres]

cine Kodak special - guts
http://www.cinematography.com/index.php?showtopic=57160

2018-12-11 22:20 GMT-04:00, Dave Tetzlaff :
> If the camera sat for a long time with the spring wound, you might be in
> trouble, as that causes the spring to lose force.
>
> What you’re hoping is that the spring is OK, and the rest of the mechanism
> is just gummed up from sitting. In which case you may only need a clean and
> lube to get it going.
>
> Which MIGHT be doable DIY...
>
> I’ve never dealt with a Cine Special, but Kodal K-100’s are fairly easy to
> take apart, so maybe a Cine-Special is as well. (???) I’m not a pro camera
> tech by any means, just have some general mechanical skills, but I’ve CL’ed
> K-100’s, switched parts between them, etc. [OTOH, you have to be a trained
> expert to even think about taking apart a Beaulieau or a Bolex].
>
> Maybe someone else here knows how intimidating the innnards of a Cine
> Special are?
>
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Re: [Frameworks] Cine-Kodak Special II

[Francisco Torres]

the camera only runs a few seconds— most of the time.
so sometimes it does not run at all?

2018-12-10 23:16 GMT-04:00, Matt Shaw :
> Hey frameworkers,
>
> Does anyone know of a place that works on Kodaks? I’ve got a Cine Special II
> (16mm) with a faulty motor and am new to the scene. The camera sat for an
> unknown period of time before I started using it.
>
> After winding the motor until the bell rings, the camera only runs a few
> seconds— most of the time.
>
> I’ve already checked with Duall to no avail.
>
>
> cheers,
> Matt
>
> Blue Hill, ME
> 
>
>
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Re: [Frameworks] 7302 as reversal

[Francisco Torres]

https://www.negativlandlab.com/
 dead link

2018-11-09 14:47 GMT-04:00, Mark Street :
> try
> https://www.negativlandlab.com/ 
>
> much cooler than anywhere else
>
> On Thu, Nov 1, 2018 at 2:01 PM Nicole Baker  wrote:
>
>> Agreed! Developing your own film seems intimidating but its actually very
>> easy. I develop my own B all the time with excellent results.
>> If DIYing it isn't an option for you Bruce, shoot me an off list email.
>> I'll be happy to develop it for you.
>>
>>
>>
>> On Thu, Nov 1, 2018, 3:05 AM christopher nigel <
>> christophernige...@gmail.com wrote:
>>
>>> Hi  would help if you say  where your are based ?
>>> or DIY it takes some time to learn but then it's  workout way cheaper
>>> in the long run  after getting the bit's & bobs
>>>
>>> C
>>> On Thu, Nov 1, 2018 at 1:27 AM Bruce Landick 
>>> wrote:
>>> >
>>> > I’m looking for a cine lab that can process the black and white
>>> positive print stock 7302 as reversal with good results. Does anybody
>>> know
>>> of a lab that is still doing this successfully?
>>> > ___
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Re: [Frameworks] Entertaining the film

[Francisco Torres]

Anyone mentioned Sherlock Jr. by Keaton yet?

2018-07-23 11:39 GMT-04:00 Anna Weisling :

> Still not sure I totally understand what you're looking for, but thought
> I'd drop this one in:
>
> https://www.youtube.com/watch?v=UHQPUlB6SRM
>
> Uncle Josh at the Moving Picture Show - 1902
>
>
>
> On Mon, Jul 23, 2018 at 10:30 AM Francisco Torres 
> wrote:
>
>> "Murray in Videoland"  segment from the anthology film  *Amazon Women on
>> the Moon*
>>
>> https://en.wikipedia.org/wiki/Amazon_Women_on_the_Moon
>>
>> "Murray in Videoland" (directed by *Robert K. Weiss
>> <https://en.wikipedia.org/wiki/Robert_K._Weiss>*):
>>
>>- *Lou Jacobi <https://en.wikipedia.org/wiki/Lou_Jacobi>* as *Murray*.
>>- *Erica Yohn <https://en.wikipedia.org/wiki/Erica_Yohn>* as *Selma*.
>>- *Debby Davison* as *Weatherperson*.
>>- *Rob Krausz* as *Floor Manager*.
>>- *Phil Hartman <https://en.wikipedia.org/wiki/Phil_Hartman>* as *Baseball
>>Announcer*.
>>- *Corey Burton <https://en.wikipedia.org/wiki/Corey_Burton>* as
>>*Anchorman*.
>>
>>
>> AWOTM is one of the best American films from the 1980s.
>>
>>>
>>> ___
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Re: [Frameworks] Entertaining the film

[Francisco Torres]

 "Murray in Videoland"  segment from the anthology film  *Amazon Women on
the Moon*

https://en.wikipedia.org/wiki/Amazon_Women_on_the_Moon

"Murray in Videoland" (directed by *Robert K. Weiss
*):

   - *Lou Jacobi * as *Murray*.
   - *Erica Yohn * as *Selma*.
   - *Debby Davison* as *Weatherperson*.
   - *Rob Krausz* as *Floor Manager*.
   - *Phil Hartman * as *Baseball
   Announcer*.
   - *Corey Burton * as
   *Anchorman*.


AWOTM is one of the best American films from the 1980s.

>
>
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Re: [Frameworks] Saul Levine/Harvard Film Archive

[Francisco Torres]

 ''Why play the stock role of ‘The Evil Dean’ in a collegiate comedy when
there are so many other options? ''

Because the pay is good. Not to mention the fringe benefits.




2018-04-21 14:30 GMT-04:00 visionarydata :

> Official Visionary Data Communique Regarding Events Surrounding
> Massachusetts College of Art and Design’s Treatment of Professor Saul Levine
>
> In an effort to speak the language of our current antagonists and be
> better understood herein, we’ll utilize that so blandly Obamian turn of
> phrase, LET’S BE CLEAR: Our publication, Boston Film Thing’s initial beef
> with the Harvard Film Archive was with regards to the glaringly low
> percentage of female filmmakers in its programmed schedule. We raised
> questions and provided statistics to point out this lack in the best way we
> knew how. We didn’t necessarily expect a response from such an illustrious
> institution to our small publication. That said we do feel that some
> response or general dialogue with or without our involvement would have
> been productive.  We fully acknowledge that there are things we may have
> missed or gotten wrong and welcome push back and civil debate.  Apparently,
> and despite the lack of response to that issue the HFA has in fact been
> paying attention to us, perhaps more than seems healthy or normal for an
> organization affiliated with the powerful hedge fund known as Harvard
> University.  Some of us have known all along what Harvard and the new model
> of neo-liberal universities and adjacent institutions are all about at
> their core. Some of us had to go within and walk such hallowed halls to
> finally notice the stench.  As a result, we fled the elitist incubators of
> the literal destroyers of worlds long ago.  That said, no organization is a
> monolith and attending screenings at the otherwise lovely HFA has been a
> highlight of our time in this at times culturally frustrating city. Boston
> Film Things has from its inception enthusiastically promoted events at HFA
> to its readership.  We recognize that sometimes the prettiest flowers grow
> in excrement.
>
> LET’S BE CLEAR: What the fug happened between Boston Film Things and the
> Harvard Film Archive?  Perhaps we ‘fugged’ up? We said ‘fug’.  HFA got mad.
> U mad, bro? U seem mad.  We have been told that the Harvard University
> Police have opened an investigation into our activities for aiming the word
> ‘fug’ at members of Mass Art’s film faculty and at a provost whose
> maneuverings against our friend Professor Saul Levine - who has nothing to
> do with the creation of this statement - have angered us greatly. Yes, ‘we
> mad’, but when we mad, we admit it, bro.   When we’re mad, like much of
> humanity, we cuss. As a result, HFA has officially accused us of ‘hate
> speech’ and ‘incitement to violence’ for our use of the word ‘fug’ and for
> clearly hyperbolic and humorous reference to a Situationist motto: ‘Destroy
> all bourgeois institutions. Under the sidewalk is the beach!!’ Firstly,
> let’s all try and be more aware of our counter cultural history.  Secondly,
> one can etymologize ‘fug’ with a quick online search and yes the word has a
> sadly hateful, misogynistic history.  However, outside of the academy,
> that’s not how words work.  Unlike the word’s literal historical meaning,
> the agreed upon vernacular use of ‘fug’ is inarguably neutered to the point
> of having lost almost all meaning except ‘I am mad or otherwise emotional
> right now and wish to emphasize that feeling’ or, of course, to signify
> sexual intercourse, and increasingly, any manner of non-sexual engagement.
> To pretend otherwise and claim such great offense is so disingenuous that
> it’s almost awe inspiring, even for the academy, even for Harvard.  As for
> questions about the latter meaning, please, rest assured none of us have or
> have ever had the slightest desire to engage in sexual relations of any
> kind with our newfound adversaries (we hold fast to the notion that sex
> should be fun). HFA knows darned tootin’ well what we meant and perhaps if
> given a chance, we’d have apologized for being momentarily impolite.
>
> LET’S BE CLEAR:  We see the recent actions of Mass Art and HFA as
> illustrative of a tendency of what has been broadly termed the
> ‘professional managerial class’.  When a member of the professional
> managerial class gets mad it doesn’t look like it does when the rest of us
> get mad.  They don’t cuss like we do.  They don’t talk with their hands
> like we do.  That would be too ‘ethnic’.  They certainly don’t seem to want
> dialogue like we do.  That would require self-examination, which is not a
> particularly useful habit for gaining and maintaining power in this most
> narcissistic epoch.  When the professional managerial class gets ruffled,
> ties in a twist, they fall back on whatever ad hoc, arbitrary jumble of
> ‘policies’ they can and then cower behind desks and the physical threat of
> 

Re: [Frameworks] Forwarded from Massart Faculty

[Francisco Torres]

I suggest one course of action to avoid such problems- Total boycott of
academia. Find other sources of employment if possible. If academia is the
only alternative in terms of earning an income then withhold your true work
from the academic audience. Create safe, vanilla works for the
administration and the student body and another body of work for yourself
and your true audience (outside academia). Also withhold your true wisdom
from your academic work, keep it secret. Moreover, feed an official
artistic line to your students and co-workers. Play it safe. After all, it
worked for the alchemists for hundred of years.

2018-04-14 1:34 GMT-04:00 lady snowblood :

> I’ve been observing this situation and reflecting on the need for
> competing skills inside one person:
> - adherence to personal vision in the studio
> - the flexibility of ego to collaborate well with colleagues and students
> in the educational environment.
>
> I’ve seen behavior like this in art teachers the past, although not to
> this degree. And I assigned it as lots of skill in one area (authorship)
> fewer skills in another ...
>
> It’s hard. I’m reminded that “you can’t say authoritarian without author”.
> I also re-invest in the notion that I have to keep a good buffer between my
> formal creative practice (viciously adhering to the vision) and the social
> skills for creating resilient learning environment (relax, communicate,
> provoke, nourish, discover together etc).
>
> Jessica
>
> * * * * *
>
> Jessica Fenlon
>
> artist : poet : experimental : http://sixth-station.com
>
> flickr  : vimeo
>  : instagram
> 
>
> On Apr 13, 2018, at 8:13 AM, John Muse  wrote:
>
> Another turn of the screw:
>
> https://www.artforum.com/news/massart-embroiled-in-
> controversy-over-resignation-of-filmmaker-saul-levine-74966
>
> j
>
> On Apr 12, 2018, at 9:19 AM, Jon Behrens  wrote:
>
>
> Thank you Ed
>
> For sharing this
>
>
> Sent from my iPhone
>
>
> On Apr 11, 2018, at 8:22 PM, Deana LeBlanc 
> wrote:
>
>
> Emotion vs. reason? His live video got us PUMPED and struck a cord- we who
> were watching were cheering, (crying a bit admittedly). Even had musicians
> riding along to its It speaks to something bigger and is effectively
> cathartic- the performance, the storytelling, while also being a testimony
> of information. Two things going on at once, important to distinguish. But
> this also makes sense- the statement from Mass Art Faculty- glad to hear
> from them.
>
>
>
>
> On Wednesday, April 11, 2018, Ed Halter  wrote:
>
> Hey Frameworks
>
>
> Felt I should share this announcement that was forwarded to me from the
> Massart faculty.
>
>
> 
>
>
>
> TO THE MASSART COMMUNITY:
>
>
> The faculty and staff of the Film/Video department demand that Professor
> Saul Levine stop his
>
> lies about recent events at Mass Art and his cyber-bullying against his
> colleagues.
>
>
> It is because of Professor Levine’s very public attacks and
> misrepresentations that we feel
>
> obliged to correct his version of the complaints against him.
>
>
> He has bullied his colleagues and created an abusive working environment
> over many years.
>
>
> He has derailed and destroyed important discussions about urgent
> departmental and curricular
>
> issues.
>
>
> This is NOT an issue of academic freedom. No one at Mass Art made any
> effort to censor or
>
> punish Professor Levine for screening his film or any other film he has
> shown over the years.
>
> No one forced him to retire.The decision to retire is entirely Professor
> Levine’s.
>
>
> We recognize Professor Levine as a brilliant artist and programmer and are
> thankful for his
>
> contributions to the department and to Massart.It is extremely painful to
> see his toxic rant
>
> against the department, besmearing the College and insulting us by name
> while claiming
>
> himself as the victim.
>
>
> As artists, teachers and mentors, it is our responsibility to stand up
> when we are bullied and to
>
> treat each other with respect. It is also our duty to foster an open,
> respectful, and collegial
>
> environment for our students.
>
>
> Soon-Mi Yoo, Chair
>
> Ericka Beckman, Professor
>
> Gretchen Skogerson, Professor
>
> Joe Briganti, Studio Manager, Video Area
>
> Kim Keown, Studio Manager, Film Area
>
> ___
>
> 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
>
>
> j/PrM
>
> *
>
> john muse
> visual media scholar
> haverford college
> he/him/his
> 

Re: [Frameworks] Saul Levine - resources

[Francisco Torres]

That MassArt president speech sounds just like words by Dean Wormer.
Maybe S. Levine was under double secret probation. In 40 years parody
has turned to fact. I wonder where we are heading...
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Re: [Frameworks] Saul Levine & MassArt: resources

[Francisco Torres]

In today's money hungry climate it is very good for a college to find
reasons to get rid of tenured staff. Especially if they have many years of
service (less pension to pay).  When such fiscal considerations get
combined with the current mentally unstable climate there will be many more
such incidents. I guess Carolee Schneemann's work will be banned soon,
too.  If this trend continues I doubt there will be any universities left
in about 20 years, maybe sooner. Only technical colleges will remain.

2018-04-02 10:56 GMT-04:00 Evan Greene :

> I have talked with Saul about the situation as it’s unfolded the past few
> days and months. It’s too complicated to explain in full here and not
> really the forum for it but all the stories that have been reported so far
> haven’t been the full truth. The Globe article being the furthest from it
> and an example of lazy journalism where the one woman quoted from Massart
> had personal axe to grind and paints an unfair picture of him and the
> situation. Saul is 74 and regardless of the events that did occur was gonna
> retire in the next few years anyway but chose to leave at the end semester.
> How any competent film teacher could think showing Notes After Long Silence
> to a class of senior film students be considered sexual harassment is
> honestly ridiculous. If you really want to support Saul tho watch his
> films. Show them. Rent them. Talk about them. Most of his films are
> available for free on his Vimeo page and their in distribution at Canyon
> Cinema, Filmmakers Coop, Lux, and Lightcone. Also for those in the New
> England area come to the final Massart Film society screenings and hear him
> publicly share his cinematic wisdom. There’s a great line up this month:
>
> April 4th - Jennifer Saparzadeh
> April 11th - Bruce Posner
> April 18th - To Be Announced
> April 25th - Adam Paradis
>
> Also check out the one and only book written about Saul by Marjorie Keller:
>
> http://saullevine.com/section/439716-THE-BOOK-OF-SAUL.html
>
>
>
> On Monday, April 2, 2018, Scott MacDonald  wrote:
>
>> *If Notes After Long Silence needs a warning, it's certainly not because
>> of sexual content. *
>>
>> *Big Stick is rather stroboscopic--and so I could imagine a warning about
>> visually-instigated epilepsy. *
>>
>> *But these are just aggressive, in-your-face, films, not unusual for the
>> time when they were made. *
>>
>> *Being made uncomfortable by a film is not being harmed.*
>>
>> *Scott*
>>
>> On Sun, Apr 1, 2018 at 10:42 PM, John Muse  wrote:
>>
>>> Hi, Scott.  Cryptic!  I’m sure the situation is more complicated than we
>>> know, and am here only sharing information as I find it.  The only counter
>>> narrative I’ve discovered so far is the one published in the Boston Globe:
>>>
>>> > Kim Keown, a former MassArt student who said she first saw the film
>>> years ago with no warning about its graphic content, said cautionary notice
>>> is the critical issue.
>>> >
>>> > “Saul has bullied and abused other faculty and staff at MassArt for
>>> years,” said Keown, who now works as a studio manager in the school’s film
>>> area. “I have nothing against the film or this kind of artwork being made
>>> or shown, but with [no] warning [it] can make one uncomfortable and unsafe.
>>> I was his student; and I did not speak out. If I had, back then, I would
>>> have been ridiculed.”
>>>
>>>
>>> See https://www.bostonglobe.com/metro/2018/03/31/massart-profess
>>> or-says-school-ousted-him-after-student-complaints/rY0bKt12T
>>> 1DrhJZ8ocYKJP/story.html
>>>
>>> I see two issues that are entangled: 1., Title IX and due process, which
>>> is worthy of serious exploration, and according to Saul’s report is at
>>> issue here.  And 2. changing standards for “good” vs. “bad” provocation,
>>> which you gloss with "things that seemed passionate and committed to one
>>> generation now seeming outrageous to another.”
>>>
>>> I’m equally interested in how both matters play out in this case.  But
>>> my emotions are all on Saul’s side.  Admittedly, I’m using the latter to
>>> understand the former.  For now, that seems ok, but I’ll certainly try to
>>> be cautious until I learn more.
>>>
>>> j
>>>
>>>
>>>
>>> > On Apr 1, 2018, at 10:01 PM, Scott MacDonald 
>>> wrote:
>>> >
>>> > PS John,
>>> >
>>> > I'm hearing (and of course this would have to be the case) that the
>>> situation with Saul and MassArt is more complicated than I'd originally
>>> understood--and I suspect that there's an element here of things that
>>> seemed passionate and committed to one generation now seeming outrageous to
>>> another.
>>> >
>>> > Like, I expect, most everyone who teaches film these days, this feels
>>> like a strange and uncomfortable time (trigger warnings, etc.). It's easy
>>> for anyone to jump to conclusions.
>>> >
>>> > I don't know anything about Saul's resources, but hopefully retirement
>>> will be good 

Re: [Frameworks] Eiki 16mm claw repair

[Francisco Torres]

 ''I am touring on the East coast doing visuals for GY!BE'' Wow, great job.
Wish I could be there to see your collective at work. Hope you get your
gear fixed soon.


Libre
de virus. www.avast.com

<#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2>

2018-03-10 15:43 GMT-04:00 carolyn kaylor :

> Try Abdoul Setoua in  NYC (Astoria, Queens) : cinerep...@aol.com
>
> On Sat, Mar 10, 2018 at 6:31 AM, Scott Dorsey  wrote:
>
>> In Boston you should try Optech, they are very good.  However, getting a
>> one-day turnaround from them or from anyone is unlikely.
>>
>> You could also try Boston Light and Sound, which is more likely to be able
>> to do things on short notice but is less likely to have parts in stock.
>>
>> --scott
>> ___
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>>
>
>
> ___
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>
>
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Re: [Frameworks] Fiction feature length films about Avant-Garde cinema

[Francisco Torres]

After the Fox 1966

https://www.youtube.com/watch?v=sqZKUx91MFI


Virus-free.
www.avast.com

<#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2>

2018-02-14 11:22 GMT-04:00 Scott Dorsey :

> SORT OF MAYBE: A Zed And Two Noughts.
> --scott
> ___
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>
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Re: [Frameworks] Steenbeck ST928 - polygon prism seized

[Francisco Torres]

Bad belts are the cause of many problems, even machines that are not
used too often get their belts ruined by just ageing. The plastic gets
very brittle with age even if taken care of. Recently I found some
belts that were not even used and the plastic had all but turned to
dust.
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Re: [Frameworks] Experimental Films before 1910

[Francisco Torres]

The films of Segundo De Chomon are worth a look.
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Re: [Frameworks] net neutrality and US filmmakers

[Francisco Torres]

Life under capital is already bad and it is only going to get worse.
Maybe it is time to move to physical media like portable hard drives,
memory sticks or 4k discs. Because in the current political climate it
is almost certain net neutrality is going to end.
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Re: [Frameworks] Asking for a friend

[Francisco Torres]

There have been male victims of sexual violence through history. Let's
keep that in mind. Like Spacey's victims.
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Re: [Frameworks] Asking for a friend

[Francisco Torres]

I said all filmmakers, all genders. I am serious about the personal
defense issue. And you should watch the film, is on utube and the int.
Archive. It was written by Dr. Seuss. After watching it please tell me
what you think about it.
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Re: [Frameworks] Asking for a friend

[Francisco Torres]

I would suggest to all filmmakers to take personal defense lessons and
to be vigilant at all times. Also look for the film Your job in
Germany (1945) to learn how to deal with the world we all living in
today. The new normal.
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Re: [Frameworks] Asking for a friend

[Francisco Torres]

All quiet in the Western Front.
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Re: [Frameworks] editing strategies (question for everyone on list)

[Francisco Torres]

I would suggest you watch all your footage and log it, then watch it
all again several times before setting a structure. Make notes, then
write an outline before doing any actual editing.
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Re: [Frameworks] Kodak Super8 digital camera

[Francisco Torres]

How long has this story been playing already? Two years? Three? It is
starting to feel like it is vaporware indeed.


2017-07-16 2:22 GMT-04:00 j miner :

> thanks for the logmar info
>
>
> On Saturday, July 15, 2017, Nicholas Kovats  wrote:
>
>> Dave,
>>
>> For the second time in my life I referenced a Dane as a Norwegian. :)
>>
>> Here is the Logmar's Danish web site, ie http://www.logmar.dk/
>>
>>
>>
>> On Sat, Jul 15, 2017 at 10:23 PM Dave Tetzlaff  wrote:
>>
>>> Nicholas wrote that the Kodak was designed by Logmar. I couldn’t find
>>> anything about this online, but I assume since Nicholas has one of the
>>> Logmars, he’s in touch with the company and knows what he’s talking about.
>>> Logmar apparently made 50 units in one batch in 2014 and that was the end
>>> of production. If the Kodak is a more simplified mass-mkarket version of
>>> the Logmar then we might see a declining price curve, since the Logmar was
>>> $6000, the 'limited edition' Kodak is supposed to be $2000, and I found an
>>> early projection for the ‘standard’ Kodak at "around $400 to $750". They
>>> may have abandoned that target, as they’re already way past the release
>>> dates they projected when they first showed prototypes. Heck, the whole
>>> thing may turn out to be vaporware. But if not, we could wind up with a
>>> tool that’s priced accessibly enough to a base of niche users big enough to
>>> keep it afloat. Or not.
>>>
>>> The question then is, who is in that niche, besides the professional
>>> customers served by Pro8mm, and "trust-fund hipsters”.
>>>
>>> For experimental makers, I think Jeff identifies well that the question
>>> goes back to the format itself, and especially to the stocks available. I
>>> share Jeff’s sentiments that "the S8 aesthetic” is really based on reversal
>>> stocks. Thus, I just shook my head seeing the dust and scratch marks in
>>> that test footage: negative! what a pain!m I’d go beyond that to argue that
>>> most experimenatl work is best served by shooting reversal, in 16mm too, if
>>> only because you can do so much more work with it yourself.
>>>
>>> We might hope if the ‘digital’ Kodak sells to whatever targets Kodak
>>> sets for it, that might lead to new stocks being released, including
>>> reversal. But I wouldn’t hold my breath. Once video supplanted Super 8 in
>>> the 80’s, Kodak seemed to ditch any interest in ‘non-professional’ users of
>>> motion picture film. Back in the early aughts, every year at UFVA I used to
>>> plead the case for small colleges doing more ‘personal’ filmamking with the
>>> Kodak education reps, including the importance of color reversal. I might
>>> as well have been talking to a wall. No one from Rochester was capable of
>>> understanding filmmaking outside of some commercial model, and all the
>>> ‘education’ efforts were directed at the big industry feeder schools and
>>> framed within the context of training for professional cinematographers.
>>> The new camera, and the negative stocks (to be processed by Pro8mm,
>>> apparently) suggest that mentality hasn’t changed at all. That is, seem to
>>> not even be aiming for the trust-fund-hipsters, but that ‘pro’ Super 8
>>> thing keeping Pro8mm going.
>>>
>>> Jeff argues that "Color neg in Super 8 just looks like bad 16mm,” and
>>> 16mm remains a better, more cost effective choice for experimentalists and
>>> other ‘personal’ makers. The question then, is why anyone would choose to
>>> work with this digital Kodak S8 over 16mmm.
>>>
>>> Professionals are likely to have a negative view of 16mm – that it just
>>> looks like bad 35mm. For them, the format and the gear of 16mm aren’t
>>> different enough to speak a different aesthetic from what they’re used to.
>>> To ‘think different’ they have to go smaller and shittier, even if that’s
>>> not the lovable 'small and shitty' of a Canon 814 shooting Kodachrome
>>> oldsters like Jeff and myself once knew.
>>>
>>> For us in the non-commercial world, who are generally happy with 16mm,
>>> even in the absence of the reversal aesthetic I can imagine some uses where
>>> the smaller all-in-one form factor of the Kodak would be a benefit. This
>>> would be especially so if it turns out to be quiet enough for decent sync
>>> shooting. One of it's features is that it records digital audio to an SD
>>> card when the film is running. Presumably, this comes back in sync with the
>>> digitized video as a single file in ProRes or whatever. That’s something
>>> you can’t get in 16mm – easily syncable double system hifi sound all in one
>>> self-contained hand-held body you toss into a backpack or whatever like a
>>> mid-sized camcorder…
>>>
>>> But yeah, if you’re shooting MOS true-film, I don’t see why you’d
>>> forsake a Bolex or an R16 or whatever for one of these…
>>>
>>> Maybe people who are licking their lips for the Kodak could say why,
>>> speaking specifically to the comparison to 16mm?
>>> 

Re: [Frameworks] Kodak Super8 digital camera

[Francisco Torres]

That youtube teat footage , It says- ''Comments are disabled for this
video'' He he oh well.

2017-07-14 4:07 GMT-04:00 j miner :

> it will be released by winter i imagine.
> i think it will be better than the chinon
> bellami hd 1
> also it will not make you bitter inside
>
>
> On Thursday, July 13, 2017, Dave Tetzlaff  wrote:
>
>> > Mindless design. No optical viewfinder, just a flip out video screen.
>> Plus, it is overpriced.
>>
>> The projected price of the initial "limited edition” version is $2000,
>> with a less expensive “standard edition” supposedly to follow. It’s a film
>> camera, so the real cost is in the stock and processing:
>>
>> > Filmmakers using the new Kodak camera can send the 50’ cartridge to
>> Kodak for developing and for a $100 developing fee Kodak will mail back to
>> the filmmaker the developed film on a reel as well post a scanned digital
>> version of the 2.5 minute film in a password protected cloud file.
>>
>> I’d have to guess the concept and pricing reflect a similar approach to
>> The Impossible Project’s new design Polaroid film camera, also very
>> expensive. These things seem targeted at cost-no-object users in Hollywood
>> and hipsterdom, who get off on having whatever tool – vintage or
>> new-fangled – has been used by some cel;ebrity maker in some high-profile
>> project.
>>
>> > Before the reborn Super 8 camera has even hit store, big Hollywood
>> names such as directors Steve Spielberg, Christopher Nolam, and J.J. Abrams
>> have endorsed the product.
>>
>> For reference, Pro8mm in Burbank sells rebuilt Beaulieu 4008’s for $2000.
>>
>> I’d expect folks who want to do experimental work in S8 to stick to old
>> Canons and Nizos or whatever shows up in decent condition at the local
>> thrift store or on eBay.
>>
>> Jeff: what’s the problem with having what amounts to video assist versus
>> a dim optical finder? Isn’t the good news here for photochemical filmies
>> that some sort of stock and processing options will remain available from
>> Kodak a while longer now that they have this thing to support?
>>
>> There’s a 46 second test clip from a Kodak prototype on YT [
>> http://tinyurl.com/yayv8yok] complete with plastic pressure-plate
>> registration flutter, dust and scratch in the negative glitches, and a nice
>> chunk of crud in the gate. Ahh, the memories...
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Re: [Frameworks] Kodak Super8 digital camera

[Francisco Torres]

Has it been released yet? As far as I know it has not yet hit stores.

2017-07-13 14:23 GMT-04:00 Margaret Rorison :

> Has anyone had the chance to experience and use this tool?
>
> Any exciting notes, critiques or comments?
>
> thanks!
> Meg
>
> ---
> http://margaretrorison.com/
> http://sightunseenbaltimore.com/
>
>
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Re: [Frameworks] JAPAN CUTS: Festival of New Japanese Film (July 13-23)

[Francisco Torres]

Thanks!

2017-06-06 16:47 GMT-04:00 Anderson, Joel Neville <
joel.neville.ander...@rochester.edu>:

> Dear FrameWorks subscribers,
>
> On behalf of the programming team consisting of Aiko Masubuchi, Kazu
> Watanabe, and myself, I am thrilled to share the full lineup for the
> eleventh edition of JAPAN CUTS: Festival of New Japanese Film, running July
> 13-23, 2017 at Japan Society in New York City: www.japansociety.org/
> japancuts
>
> Please browse the range of dynamic programming sections including the Feature
> Slate, Classics: Rediscoveries & Restorations, Documentary Focus, Experimental
> Spotlight, and Shorts Showcase. The Experimental Spotlight may be of
> particular interest to FrameWorks subscribers, presenting the North
> American Premiere of *Haruneko *(dir. Sora Hokimoto) and the International
> Premiere of *Hengyoro (Queer Fish Lane) *(dir. Go Takamine), however I
> believe many titles will be of interest to those engaged with the
> avant-garde and experimental film and video.
> Tickets are on sale to Japan Society members this week, and will open to
> the general public Monday, June 12. (We are offering festival passes for
> sale this year, in addition to bundled ticket deals.) Receive special
> announcements by subscribing to our newsletter
> ,
> or following via Facebook
> 
> and Twitter
> 
> with the hashtag #JAPANCUTS . Hope
> to see you here this July!
>
>
> Best regards,
>
> Joel Neville Anderson
> PhD Candidate, Visual & Cultural Studies
> University of Rochester
> 978.394.3292
> www.joelnevilleanderson.com
>
> Upcoming & Recent Programming:
> JAPAN CUTS: Festival of New Japanese Film (July 13-23, 2017)
> www.japansociety.org/japancuts
>
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Re: [Frameworks] Cinema v Gallery: Robert Frank in Chicago

[Francisco Torres]

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 <christophernige...@gmail.com>:

> Ok thank you ,
>
> On Sat, May 27, 2017 at 8:26 PM, Francisco Torres <fjtorre...@gmail.com>
> wrote:
>
>> Thanks! I thought of those children's books :)
>>
>> 2017-05-27 11:52 GMT-04:00 Adam Hyman <a...@lafilmforum.org>:
>>
>>> 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 <fjtorre...@gmail.com>
>>> Reply-To: "Experimental Film Discussion List <
>>> frameworks@jonasmekasfilms.com>" <frameworks@jonasmekasfilms.com>
>>> Date: Sat, 27 May 2017 10:58:58 -0400
>>> To: "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>"
>>> <frameworks@jonasmekasfilms.com>
>>> 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 <fjtorre...@gmail.com>:
>>>
>>>> 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 selling the photographs. Was it also selling
>>>>>> films? 

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

[Francisco Torres]

Thanks! I thought of those children's books :)

2017-05-27 11:52 GMT-04:00 Adam Hyman <a...@lafilmforum.org>:

> 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 <fjtorre...@gmail.com>
> Reply-To: "Experimental Film Discussion List <frameworks@jonasmekasfilms.
> com>" <frameworks@jonasmekasfilms.com>
> Date: Sat, 27 May 2017 10:58:58 -0400
> To: "Experimental Film Discussion List <frameworks@jonasmekasfilms.com>" <
> frameworks@jonasmekasfilms.com>
> 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 <fjtorre...@gmail.com>:
>
>> 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 selling the photographs. Was it also selling
>>>> films? (as films, or as videos?)
>>>>
>>>> ___
>>>> 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 list
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> webfaction.com/listinfo/frameworks
>
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Re: [Frameworks] Cinema v Gallery: Robert Frank in Chicago

[Francisco Torres]

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 <fjtorre...@gmail.com>:

> https://steidl.de/News/Robert-Frank-Books-and-Films-1947-
> 2017-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 selling the photographs. Was it also selling
>>> films? (as films, or as videos?)
>>>
>>> ___
>>> 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] Cinema v Gallery: Robert Frank in Chicago

[Francisco Torres]

https://steidl.de/News/Robert-Frank-Books-and-Films-1947-2017-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 :

> 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 
>> 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 selling the photographs. Was it also selling
>> films? (as films, or as videos?)
>>
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>
>
> ___
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>
>
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Re: [Frameworks] Phase flicker and print timing?

[Francisco Torres]

now there are pocket sized hmi's. amazing.


2017-05-08 18:26 GMT-04:00 Julian Antos :

> LEDs really are the end of art as we know it!
>
> On Mon, May 8, 2017 at 5:20 PM, Christopher Ball 
> wrote:
>
>> I never heard of such a thing.  It wouldn't work on a continuous printer,
>> only on a step printer or optical printer.  The fastest way to deal with
>> that now would be to digitize, fix and then print back to film (if film is
>> your final medium)
>>
>> On Mon, May 8, 2017 at 3:54 PM, George Monteleone <
>> georgemontele...@gmail.com> wrote:
>>
>>> Hi all.  I was curious if 16mm lab printers are typically equipped with
>>> any kind of "deflicker" mechanisms for footage that has phase flicker.
>>>  Obviously there are digital tools for such a thing, but for printing
>>> directly from negative, was curious if color timers have any tricks up
>>> their sleeves to cope with these issues.
>>>
>>> It's Bolex footage, so imperfect motor sync partially to blame; LEDs
>>> and/or sodium vapor lamps were also part of the issue, I think.
>>>
>>> Thanks,
>>> George
>>>
>>> ___
>>> FrameWorks mailing list
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>>>
>>>
>>
>> ___
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>>
>>
>
>
> --
> Julian Antos
> Chicago Film Society
> www.chicagofilmsociety.org 
> 773 827 8991 <(773)%20827-8991>
>
>
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Re: [Frameworks] Film as a Subversive Art in Spanish

[Francisco Torres]

Thanks for the link.  Amazing book, finally in Spanish.

2017-04-26 20:45 GMT-04:00 Scott MacDonald :

> *Dear Frameworkers,*
>
> *Documental Ambulante and Secretaria de Cultura in Mexico City have just
> released a beautiful edition of Amos Vogel's amazing compendium and
> theorization of rebellious cinema, Film as a Subversive Art. *
>
> *A work of book art, as well as a brilliant theoretical rumination on
> Vogel's years curating Cinema 16, El cine como arte subversivo is a
> pleasure to explore even if one doesn't speak Spanish. If you do, it will
> be a revelation.*
>
> *Here's the link: *
>
> *http://www.ambulante.org/iniciativas/publicaciones/
> *
>
> *Scott*
>
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Re: [Frameworks] New book + CD on Peter Kubelka now available

[Francisco Torres]

Thanks!

2017-04-06 8:21 GMT-04:00 :

>
> *JUST RELEASED*
>
> *APRIL 2017*
>
>
>
>
>
>
>
> *At Peter’s*
>
> *Vienna, June 20th, 2016 (7:04 pm - 10:46 pm)*
>
> *by Christian Lebrat*
>
> *April 2017, 19 x 22 cm, 72 pp., 87 ill. in black **and white + 1 CD. *
>
> *ISBN: *978-2-912539-50-2
>
> PARIS EXPERIMENTAL EDITIONS
>
> Bilingual (English-French)
>
> *Print run: 350 copies *
>
> *Price : 35 Euros*
>
>
>
> This book documents, in one hundred images, an evening spent, in Vienna,
> on June 20, 2016, in the company of Peter Kubelka, his wife Luise, Viennese
> photographer Heinz Cibulka, as well as Jonas Mekas and his son Sebastian
> who came to film Kubelka at home. In the intimacy of his apartment, a
> veritable laboratory of objects, Kubelka prepares a delicious meal and
> presents his collection. He holds forth on the uses and the metaphorical
> interpretations of various objects that come from different civilizations
> and epochs.
>
> The book is accompanied by a CD with audio excerpts from the evening.
>
>
> more info :
>
> http://www.paris-experimental.asso.fr/project/at-peters-
> chez-peter-christian-lebrat/
>
>
>
> For Payment by Paypal, please contact us at
>
> paris-experimen...@numericable.fr
>
> (shipping cost : 10 Euros for Europe, 15 Euros worldwide)
>
>
>
> -   *PETER KUBELKA*
>
> Peter Kubelka (b. 1934 in Vienna) is a historic figure of independent
> cinema. Shot between the 1950s and the 1970s, his œuvre offers new forms of
> filmic expression. Today, his films are represented in international art
> museums and cinematheques.  With his friends, Jonas Mekas, Stan Brakhage
> and P. Adams Sitney, Kubelka was one of the original founding members of
> Anthology Film Archives in New York. Later, he founded the Austrian
> Filmmuseum of Vienna and taught filmmaking as well as cooking at the
> Frankfurt School of Fine Arts (Städelschule). His artistic interests
> surpass filmmaking. A keen observer, he compares the visual arts to music,
> language, and cooking, which he believes to be the world’s oldest art. In
> April 2017, the Centre Pompidou has invited Peter Kubelka to give a lecture
> series and to screen his most recent film, *Monument Film* in its French
> premiere. Paris Expérimental’s new book on him will be published for this
> occasion.
>
>
> 20 special editions with an original photo / price on request / contact us
> for more info
>
>
>
>
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Re: [Frameworks] Translation of «Piétage» and «Piéteuse»

[Francisco Torres]

footage

2017-03-25 8:38 GMT-04:00 _blank :

> Hi Esperanza,
>
> I’ve worked with film and I’m a translator. It’s “pietaje”, as Pablo said.
> In regards to the machine, I’ve heard a couple of times the word
> “pietadora”, but I’m not sure if people who works at film labs use that
> word.
>
> Cheers,
> Blanca
>
> (Ø)
> _
> _blank
> www.null66913.net
> @null66913
>
> El 25/3/2017, a las 13:00, frameworks-requ...@jonasmekasfilms.com
> escribió:
>
> *De: *Esperanza Collado 
> *Asunto: **[Frameworks] Translation of «Piétage» and «Piéteuse»*
> *Fecha: *25 de marzo de 2017, 11:30:57 CET
> *Para: *Experimental Film Discussion List 
>
>
> Hi FrameWorkers,
>
> Could any of you help me with the translation of these French terms
> please? Even if you don't know French, by the description some of you may
> know what I'm referring to.
>
> I actually need to translate these two terms into Spanish, but I am so
> lost, even an English translation would do for a start.
>
> These are the terms:
>
> • Piétage («piétage de la pellicule») — (it refers to white numbers
> written with a «piéteuse» machine on the image and on the sound strips at
> the same time, in order to get them synchronized I guess. This operation is
> done with a special machine called «pieteuse»)  —
>
> • Piéteuse (the machine) —
>
> Fingers crossed there's someone out there who knows these words.
>
> Cheers,
>
> Esperanza.
>
>
>
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Re: [Frameworks] Lying as a theme

[Francisco Torres]

2017-02-22 19:14 GMT-04:00 Francisco Torres <fjtorre...@gmail.com>:

> ''Charade staring Archibald Leach...''  he he
> Once told by an interviewer, "Everybody would like to be Cary Grant",
> Grant is said to have replied, "So would I."
>
> 2017-02-22 19:01 GMT-04:00 Salise Hughes <salise.hug...@gmail.com>:
>
>> I agree, all films lie. Charade staring Archibald Leach.
>>
>> On Wed, Feb 22, 2017 at 2:34 PM, Jeff Kreines <j...@kinetta.com> wrote:
>>
>>> David Holzman’s Diary
>>>
>>> On Feb 22, 2017, at 4:30 PM, Francisco Torres <fjtorre...@gmail.com>
>>> wrote:
>>>
>>> it may be that all films lie. that is what make them such fun.
>>>
>>> 2017-02-22 14:31 GMT-04:00 lagonaboba <lagonab...@gmail.com>:
>>>
>>>> from the Filmmaker’s Coop Catalog: (description seems laden with
>>>> Coyote-esque obfuscation, and I wrote it…)
>>>>
>>>> Robert Harris
>>>> <http://film-makerscoop.com/rentals-sales/search-results?fmc_author=1035>
>>>>
>>>> *COYOTE  *(1997
>>>> <http://film-makerscoop.com/rentals-sales/search-results?fmc_year=1997>
>>>> ) DVD NTSC, color, 17:07 min
>>>>
>>>> Genre: Documentary
>>>> <http://film-makerscoop.com/rentals-sales/search-results?fmc_genre=genre_documentary>
>>>> , Experimental
>>>> <http://film-makerscoop.com/rentals-sales/search-results?fmc_genre=genre_experimental>
>>>>
>>>> Keywords: Ethnic/Multicultural
>>>> <http://film-makerscoop.com/rentals-sales/search-results?fmc_keyw=key_ethnic_multicultural>
>>>>
>>>> COYOTE is an invocation of the many shady, shifting forms of Coyote,
>>>> wide dog, Trickster, and smuggler, told in a style that mimics his
>>>> multifarious shape. COYOTE abandons unified visual style. The narrative is
>>>> fractured, a blend of documentary and fiction, contradictory voices, myths,
>>>> and lies. Through a discontinuity between images, between image and text,
>>>> between textual voices; through a clash of human and non-human voices,
>>>> fixed meaning is undermined. Contradiction, displacement and disruption
>>>> force the viewer's participation. Text and image drift in and out of
>>>> moments of relative, subjective synchronicity. A reading ascribed to a
>>>> given image will dissolve with the change of accompanying text. As meaning
>>>> becomes contingent on viewer and context, authorship shifts from
>>>> video-maker to collective process. COYOTE is an accumulated cacophony of
>>>> evidence fragments where meanings coagulate in the resonant harmonics of
>>>> the various voices.
>>>>
>>>>
>>>>
>>>>
>>>> On Feb 21, 2017, at 8:49 PM, Morgan Hoyle-Combs <mhoyleco...@yahoo.com>
>>>> wrote:
>>>>
>>>> Hello
>>>>
>>>> Does anyone know of any film (essay/diary/doc) where lying is a theme
>>>> or the main focus? I wondered if there was anything that ran among these
>>>> lines:
>>>>
>>>> 1. The audience is well aware that the narrator/filmmaker is lying to
>>>> them
>>>>
>>>> 2. The audience does not know whether or not the narrator/filmmaker
>>>> lying to them. It's left ambiguous.
>>>>
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>>>>
>>>>
>>>>
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>>>>
>>>>
>>> ___
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>>>
>>> Jeff Kreines
>>> Kinetta
>>> j...@kinetta.com
>>> kinetta.com
>>>
>>>
>>>
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>>>
>>
>>
>> --
>> Salise Hughes
>> Artist, Filmmaker, Armchair Anthropologist
>>
>> http://salisehughes.blogspot.com
>> https://vimeo.com/user1421998
>>
>>
>>
>>
>>
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>>
>
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Re: [Frameworks] Lying as a theme

[Francisco Torres]

''Charade staring Archibald Leach...''  he he
Once told by an interviewer, "Everybody would like to be Cary Grant", Grant
is said to have replied, "So would I."

2017-02-22 19:01 GMT-04:00 Salise Hughes <salise.hug...@gmail.com>:

> I agree, all films lie. Charade staring Archibald Leach.
>
> On Wed, Feb 22, 2017 at 2:34 PM, Jeff Kreines <j...@kinetta.com> wrote:
>
>> David Holzman’s Diary
>>
>> On Feb 22, 2017, at 4:30 PM, Francisco Torres <fjtorre...@gmail.com>
>> wrote:
>>
>> it may be that all films lie. that is what make them such fun.
>>
>> 2017-02-22 14:31 GMT-04:00 lagonaboba <lagonab...@gmail.com>:
>>
>>> from the Filmmaker’s Coop Catalog: (description seems laden with
>>> Coyote-esque obfuscation, and I wrote it…)
>>>
>>> Robert Harris
>>> <http://film-makerscoop.com/rentals-sales/search-results?fmc_author=1035>
>>>
>>> *COYOTE  *(1997
>>> <http://film-makerscoop.com/rentals-sales/search-results?fmc_year=1997>
>>> ) DVD NTSC, color, 17:07 min
>>>
>>> Genre: Documentary
>>> <http://film-makerscoop.com/rentals-sales/search-results?fmc_genre=genre_documentary>
>>> , Experimental
>>> <http://film-makerscoop.com/rentals-sales/search-results?fmc_genre=genre_experimental>
>>>
>>> Keywords: Ethnic/Multicultural
>>> <http://film-makerscoop.com/rentals-sales/search-results?fmc_keyw=key_ethnic_multicultural>
>>>
>>> COYOTE is an invocation of the many shady, shifting forms of Coyote,
>>> wide dog, Trickster, and smuggler, told in a style that mimics his
>>> multifarious shape. COYOTE abandons unified visual style. The narrative is
>>> fractured, a blend of documentary and fiction, contradictory voices, myths,
>>> and lies. Through a discontinuity between images, between image and text,
>>> between textual voices; through a clash of human and non-human voices,
>>> fixed meaning is undermined. Contradiction, displacement and disruption
>>> force the viewer's participation. Text and image drift in and out of
>>> moments of relative, subjective synchronicity. A reading ascribed to a
>>> given image will dissolve with the change of accompanying text. As meaning
>>> becomes contingent on viewer and context, authorship shifts from
>>> video-maker to collective process. COYOTE is an accumulated cacophony of
>>> evidence fragments where meanings coagulate in the resonant harmonics of
>>> the various voices.
>>>
>>>
>>>
>>>
>>> On Feb 21, 2017, at 8:49 PM, Morgan Hoyle-Combs <mhoyleco...@yahoo.com>
>>> wrote:
>>>
>>> Hello
>>>
>>> Does anyone know of any film (essay/diary/doc) where lying is a theme or
>>> the main focus? I wondered if there was anything that ran among these
>>> lines:
>>>
>>> 1. The audience is well aware that the narrator/filmmaker is lying to
>>> them
>>>
>>> 2. The audience does not know whether or not the narrator/filmmaker
>>> lying to them. It's left ambiguous.
>>>
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>>>
>>>
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>>>
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>>
>>
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>>
>>
>>
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>>
>
>
> --
> Salise Hughes
> Artist, Filmmaker, Armchair Anthropologist
>
> http://salisehughes.blogspot.com
> https://vimeo.com/user1421998
>
>
>
>
>
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Re: [Frameworks] Lying as a theme

[Francisco Torres]

it may be that all films lie. that is what make them such fun.

2017-02-22 14:31 GMT-04:00 lagonaboba :

> from the Filmmaker’s Coop Catalog: (description seems laden with
> Coyote-esque obfuscation, and I wrote it…)
>
> Robert Harris
> 
>
> *COYOTE  *(1997
> ) DVD
> NTSC, color, 17:07 min
>
> Genre: Documentary
> 
> , Experimental
> 
>
> Keywords: Ethnic/Multicultural
> 
>
> COYOTE is an invocation of the many shady, shifting forms of Coyote, wide
> dog, Trickster, and smuggler, told in a style that mimics his multifarious
> shape. COYOTE abandons unified visual style. The narrative is fractured, a
> blend of documentary and fiction, contradictory voices, myths, and lies.
> Through a discontinuity between images, between image and text, between
> textual voices; through a clash of human and non-human voices, fixed
> meaning is undermined. Contradiction, displacement and disruption force the
> viewer's participation. Text and image drift in and out of moments of
> relative, subjective synchronicity. A reading ascribed to a given image
> will dissolve with the change of accompanying text. As meaning becomes
> contingent on viewer and context, authorship shifts from video-maker to
> collective process. COYOTE is an accumulated cacophony of evidence
> fragments where meanings coagulate in the resonant harmonics of the various
> voices.
>
>
>
>
> On Feb 21, 2017, at 8:49 PM, Morgan Hoyle-Combs 
> wrote:
>
> Hello
>
> Does anyone know of any film (essay/diary/doc) where lying is a theme or
> the main focus? I wondered if there was anything that ran among these
> lines:
>
> 1. The audience is well aware that the narrator/filmmaker is lying to them
>
> 2. The audience does not know whether or not the narrator/filmmaker lying
> to them. It's left ambiguous.
>
> ___
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>
>
>
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Re: [Frameworks] Elmo Xenon CX-350

[Francisco Torres]

where are you located?

2017-01-23 14:14 GMT-04:00 Michael Walsh :

> Hello All,
> I have a 16mm Elmo Xenon CX-350 projector. The amplifier is not working
> and I'm wondering where to send out for repair.
> Any leads appreciated!
> -Michael Walsh
>
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Re: [Frameworks] Wanted: Flatbed Editor in NYC

[Francisco Torres]

back in the day some flatbeds were converted to serve as mag
recorders/dubbers also

2017-01-16 15:43 GMT-05:00, Sceptics skept :
> Hello everyone,
>
>
> I recently decided to take the leap to shoot sync'd 16mm film. I am
> determined to work on my films physically. A few months back I turned down a
> free Steenbeck in Brooklyn, and I've been kicking myself ever since.
>
>
> I was hoping to ask if there might be a Flatbed editor available in or
> around NYC. I have a preference of finding one with 6 plates and an
> interlock  port, but I guess I can't be picky as there may not be many, if
> any available around me!
>
>
> I will also need a portable 16mm recorder/dubber/magnasync to transfer audio
> to 16mm mag film for editing on the table as well, but I guess I need the
> table before I even get to that point!
>
>
> Thank you in advance!
>
>
> Evan
>
> sceptics...@gmail.com
>
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Re: [Frameworks] 16mm sound recording

[Francisco Torres]

thanks!

2016-12-13 16:21 GMT-04:00 Jeff Kreines <jeffkrei...@gmail.com>:

>
> On Dec 13, 2016, at 2:17 PM, Francisco Torres <fjtorre...@gmail.com>
> wrote:
>
> another question- When 16mm prints are transfered  to digital these days
> do most filmmakers prefer to use the original mix or the optical trck?
>
>
> The optical track is the last fallback if you don’t have the mix.  Of
> course for films made before magnetic recording, optical is king.
>
> You want to scan the original camera neg/reversal original if possible, at
> a high res (4K-5K preferred).
>
> (OK, I make 5K scanners, but it makes a big difference, even with small
> formats.  Look here:
> <http://db.tt/5SlAVkbT> <http://db.tt/5SlAVkbT>
>
> https://dl.dropboxusercontent.com/u/28462740/Memoriav%
> 20Dossier%20--%20a%20response%20-%202012.pdf )
>
> Jeff Kreines
> Kinetta
>
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Re: [Frameworks] 16mm sound recording

[Francisco Torres]

another question- When 16mm prints are transfered  to digital these days do
most filmmakers prefer to use the original mix or the optical trck?

2016-12-13 16:12 GMT-04:00 Scott Dorsey :

> Indeed.  Technicolor Magnecraft was bulldozed some time ago and I believe
> there is a really good Salvadorian restaurant where it stood.
>
> But... people should know that there _is_ a 16mm dts standard, and there
> _are_ a small number of theatres that can show it, because it is very cool.
> I wouldn't recommend making a dts print until you already have several
> analogue sound prints at the very least.  Still, it is a thing that is
> possible to do today, which is not the case at all for commag prints.
> --scott
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Re: [Frameworks] 16mm sound recording

[Francisco Torres]

which reminds me- in the 80s kodak tried to use the whole base area to
record mag digital sound and get rid of optical sound did not get
anywhere.

2016-12-13 15:34 GMT-04:00 Jeff Kreines :

> Mag stripe is dead.  Not worth considering for a new film.
>
> DTS is overkill.
>
> Do you need a 16mm print with optical sound, in these days of digital
> (which has better sound)?  35mm blowups are not cheap.
>
>
> On Dec 13, 2016, at 1:31 PM, Morgan Hoyle-Combs 
> wrote:
>
> So, just so I'm caught up in this discussion, is it possible to stick a
> thin strip of magnetic sound tape to the celluloid or must it be done
> optically nowadays? Because it seems like there's talk of DTS with 35mm but
> I'm not aware of whether or not it can go on 16mm. Does that mean I'd have
> to consider a 35mm print of the 16mm?
>
>
> On Tuesday, December 13, 2016 2:27 PM, Scott Dorsey 
> wrote:
>
>
> > They could just stick a magnet on the inching knob and use a reed
> switch..
>
> These solutions are good until the print is damaged and a frame has to be
> removed from it.
> --scott
>
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Re: [Frameworks] 16mm sound recording

[Francisco Torres]

which begs the question-  are there are any double sound systems possible
today for 16 mm using standard projectors and some digital source?

2016-12-12 21:31 GMT-04:00 Kenneth Linehan :

> Hi Morgan,
>
> If you’re looking to obtain a final screening print ( 16mm  ) with sync
> sound, the primary format is optical sound track recording. There may be
> people experimenting with making their own home-brew magnetic tracks, but
> there’s little to no support for magnetic sound on 16mm these days.
>
> So, if you want to get an optical track made, you definitely can.
>
> There’s a lab in Canada that I’ve used recently to produce an optical
> negative and they did very good work.
>
> Regarding the overall workflow questions you had, if you use film scanning
> there are workflows that largely eliminate the need to use mag or a
> Steenbeck to produce your soundtrack.  Not that I’m opposed to those things
> :)
> This or may not apply to your workflow, but hopefully it will give you
> some perspective on your options:
>
> Consider the possibility of having your film or negative scanned at 24fps
> ( progressive ). Although this may add some cost up front, the scan can be
> useful for many purposes not the least of which is facilitating digital
> sound workflow. Once your film is scanned at 24fps progressive, maintaining
> sound sync in the digital environment becomes much easier than with NTSC
> telecine processes. Note, if you need an NTSC end product, my approach may
> not totally suit you.
>
> Once you have your scan, import it as a quicktime movie into an audio
> editing application like ProTools/DigitalPerformer/etc. Create a sync beep
> and do all your overdub ( voice over ) in the audio app. Make sure the
> audio editor transport counter is operating at 24fps. Beep must be placed
> carefully. You can conform subsequent edits of scanned material in your
> audio editor very easily while still editing on film at the same time. You
> can conform edits on the fly as you work between film and digital
> simultaneously if necessary.
>
> You can then mix using your audio workstation and send the mixed audio
> file ( with sync beep ) to the optical sound lab and they will provide you
> an optical negative. That optical neg can then be married to the image
> negative in the final print by your lab. I used dropbox to transfer my mix
> to the lab in Canada.
>
> There are lots of details and particulars you must be attentive to, but
> that’s the overview. I’m happy to talk to you about it if you want to send
> me an email. Other people may have other approaches. You need to find the
> right mix of techniques for your personal process.
>
> Ken Linehan
>
>
>
> On Dec 12, 2016, at 4:02 PM, Morgan Hoyle-Combs 
> wrote:
>
> Hello to all who still film and record to 16mm film (or any celluloid
> format)
>
> I have an essay/diary that I'm filming with a few old 16mm Cine Kodak
> cameras. I already have notes and images, but what needs to come next is a
> voice over. Does anyone who has worked with 16mm sound know how I would go
> about doing this? I'm more than happy to be corrected, but I have it
> figured like this: I would record the to a magnetic reel, then I would
> organize my footage and make a print out of my reels AND in coordination
> with the dialog. But how would I go about putting the sound stock ONTO the
> film? I know that I would have to use SINLGE PERF to leave room for the
> sound tape.
>
> I think this is where I lose myself. Anyone have any ideas on where I
> should start?
>
> I'm using black and white FYI.
>
> -Morgan
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Re: [Frameworks] 16mm Biker/ Witch Film Kickstarter

[Francisco Torres]

very psychtronic

2016-12-07 2:57 GMT-04:00 Ben Winston :

> Hey everyone. I just started a kickstarter so I can finish my first
> feature film. Here's a link if anyone's interested in what its all about.
> Thank you.
>
> https://www.kickstarter.com/projects/1126237664/hellbound-a-16mm-film
>
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Re: [Frameworks] Hutton

[Francisco Torres]

 ''. .  It's like the
letters my father writes that I never answer.''
???

2016-12-07 15:24 GMT-04:00 Re X :

> Looking forward to the Hutton retrospective starting tonight in NYC!! It
> runs through Monday at Anthology.
>
> On Wed, Dec 7, 2016 at 2:20 PM, Mark Street  wrote:
>
>> I can't imagine a screening more 'educational' (and edifying and
>> inspiring) than a series of Peter Hutton's films.
>>
>> Mark Street
>> www.markstreetfilms.com
>>
>> On Sun, Dec 4, 2016 at 11:52 AM, Shumona Goel 
>> wrote:
>>
>>> As a student of Peter Hutton's, I remember distinctly, the first time I
>>> saw Peter's films projected on film. The auditorium was full and remained
>>> in pindrop silence through the evening length screening.
>>>
>>> One the many things that has stayed with me since that screening, was
>>> how he had shot a lamp post lit up at night. It was a long take, nothing
>>> moved. I think there was some snow in the frame. He shot at 8 frames per
>>> second and over time, you could see the movement of the light from the lamp
>>> post.
>>>
>>> Amazing.
>>>
>>> On Dec 4, 2016 10:11 PM, "Tim Halloran"  wrote:
>>>
 "...an act of love..." Nicely stated.

 Cheers.

 Tim

 Sent from my iPad

 > On Dec 3, 2016, at 12:11 PM, Chuck Kleinhans <
 chuck...@northwestern.edu> wrote:
 >
 > 1.  Hutton was an educator.
 >
 > 2.  For most people, appreciation of “pure” art, of “extremely
 disciplined style” is learned, not an inherent given of personality,
 biology, or whatever.  Taste is a social construction,
 >
 > 3.  Educating potential viewers so they can have such art experiences
 is (at least in part) an act of love, a social act that makes this a better
 world.
 >
 > Chuck Kleinhans
 >
 >
 >
 >> On Dec 3, 2016, at 11:03 AM, Bernard Roddy 
 wrote:
 >>
 >> Frameworkers!  I don't know who you are, but . . .  It's like the
 >> letters my father writes that I never answer.  They just keep coming,
 >> even as I throw them directly in the trash.  What, then, is it to
 >> write someone, anyway?
 >>
 >> But Peter Hutton work screened at Nightingale.  And I wonder, well:
 >>
 >> What does this have to do with higher education?  That wasn't the
 >> first thing, though.  It was, is this still acceptable?  It was
 funny,
 >> after the show - all totally silent - I had to think of André Kertész
 >> photographs.  Is this even experimental?  The girl in the seat in
 >> front of me rested her head on her boyfriend's shoulder.  It was an
 >> experience resembling a service of some kind.  The show was very well
 >> attended.  I'm not just saying that.  And understandably so, because
 >> the experience is hard to get!  It's in film, for god's sake, and it
 >> couldn't possibly be otherwise - it's pure, it's committed to this
 >> extremely disciplined style.  You could think, you could wait, and
 >> there was never anything to distract you . .  (I'm thinking of the
 >> river film and the Polish city film) . .  But then there's that what
 >> does this have to do with higher education?  Can this really be part
 >> of a course of study?  That's where I lose it.
 >>
 >> Bernie
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>>>
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>>>
>>
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>
>
> --
>
> ...
>
> "Impotent beauty hates understanding...but beauty cannot act."
>
>
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Re: [Frameworks] Digital hd projection

[Francisco Torres]

still, at 160 dollars it is cheaper than even most tv sets!

2016-12-06 4:10 GMT-04:00 Bernd Luetzeler <fi...@gmx.de>:

> yes but…:
> „ It supports scaling from 1080p, however the actual resolution is
> 800×480. This is an EDTV resolution, not HDTV. What this means is that
> images are clean and sharp, but not quite as detailed as you’d get with a
> 1080p projector. „
> In-Depth Review of the iRulu BL20 1080P HD 3D Projector - Nerd Techy
> <http://nerdtechy.com/irulu-bl20-projector-review>
>
>
>
> Am 06.12.2016 um 02:26 schrieb Francisco Torres <fjtorre...@gmail.com>:
>
> and now we have things as these...
>
>
> ''The iRulu BL20 is a low-cost projector 1080p/HD projector that supports
> a projection distance up to six meters, dual built-in speakers, and a
> screen size up to 200 inches. Retailing for about $165 USD, this isn't a
> high-end projector but is rather decent for the price. Here's a quick
> write-up about my experience with this budget projector.''
> http://www.phoronix.com/scan.php?page=article=irulu-
> b20-projector=1
>
> 2016-12-05 20:38 GMT-04:00 Scott Dorsey <klu...@panix.com>:
>
>> Yes... if you have a bright room (any more than 3 or 4 fl off the screen
>> with
>> the projector off), consider using a grey screen for projection.  Yes, it
>> requires a brighter projector to get the same brightness level to the eye,
>> but the black level is improved because the brightness from the room
>> illumination is reduced.
>> --scott
>>
>>
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Re: [Frameworks] Digital hd projection

[Francisco Torres]

and now we have things as these...


''The iRulu BL20 is a low-cost projector 1080p/HD projector that supports a
projection distance up to six meters, dual built-in speakers, and a screen
size up to 200 inches. Retailing for about $165 USD, this isn't a high-end
projector but is rather decent for the price. Here's a quick write-up about
my experience with this budget projector.''
http://www.phoronix.com/scan.php?page=article=irulu-b20-projector=1

2016-12-05 20:38 GMT-04:00 Scott Dorsey :

> Yes... if you have a bright room (any more than 3 or 4 fl off the screen
> with
> the projector off), consider using a grey screen for projection.  Yes, it
> requires a brighter projector to get the same brightness level to the eye,
> but the black level is improved because the brightness from the room
> illumination is reduced.
> --scott
>
>
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Re: [Frameworks] film scanner

[Francisco Torres]

There are 16mm versions of the retro scanners Still think 5-10 k is a
good price if the thing works as promised... a big IF

2016-12-01 19:06 GMT-04:00 Dominic Angerame :

> David, did not realize u meant 10 grand. That is an awful lot of money for
> doing S8mm and 8mm, there used to be very cheap ways of doing transfers by
> using a projector. I am sure that David (above) knows more about this than
> I.It is just a lot of money.
>
>
> On Tue, Nov 29, 2016 at 9:36 PM, Dave Tetzlaff  wrote:
>
>> > I wonder if there is any alternative to it at a decent price (under 10
>> K?)
>>
>> Did you really mean “under $10,000”?
>>
>> Well, there’s the MovieStuff Retro, $4.500:
>> http://moviestuff.tv/moviestuff_home.html
>>
>> Mr. MovieStuff, Roger Evans, used to make film scanners based on
>> projector mechanisms, probably similar in function to the Reflecta. Some
>> (i’m not sure if all) of these carried the name “Workprinter”. He kept
>> refining the design, moving away from the projector working like a
>> projector to a more controlled scanning method. I’ve never seen one in
>> person, but the guy has been in business a long time now, so I can’t
>> imagine the stuff is bogus. There are probably used models of that older
>> ‘Workprinter’ type out there somewhere.
>>
>> > I know there are filmmakers who have cheaply rigged up an Arduino setup
>> for it..
>>
>> I think that may refer to this: http://kinograph.cc/
>>
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Re: [Frameworks] film scanner

[Francisco Torres]

A while ago I asked here about the Movie Stuff products and did not get any
feedback

2016-11-30 20:35 GMT-04:00 Francisco Torres <fjtorre...@gmail.com>:

> Yes 10 K US... I was used to rent Ranks for 4-5 K A day! That was mostly
> for commercials so they had money to burn. So 10 k to own anything seems
> very inexpensive! Especially if it is for a collective .
>
> 2016-11-30 1:36 GMT-04:00 Dave Tetzlaff <djte...@gmail.com>:
>
>> > I wonder if there is any alternative to it at a decent price (under 10
>> K?)
>>
>> Did you really mean “under $10,000”?
>>
>> Well, there’s the MovieStuff Retro, $4.500:
>> http://moviestuff.tv/moviestuff_home.html
>>
>> Mr. MovieStuff, Roger Evans, used to make film scanners based on
>> projector mechanisms, probably similar in function to the Reflecta. Some
>> (i’m not sure if all) of these carried the name “Workprinter”. He kept
>> refining the design, moving away from the projector working like a
>> projector to a more controlled scanning method. I’ve never seen one in
>> person, but the guy has been in business a long time now, so I can’t
>> imagine the stuff is bogus. There are probably used models of that older
>> ‘Workprinter’ type out there somewhere.
>>
>> > I know there are filmmakers who have cheaply rigged up an Arduino setup
>> for it..
>>
>> I think that may refer to this: http://kinograph.cc/
>>
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>>
>
>
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Re: [Frameworks] film scanner

[Francisco Torres]

Yes 10 K US... I was used to rent Ranks for 4-5 K A day! That was mostly
for commercials so they had money to burn. So 10 k to own anything seems
very inexpensive! Especially if it is for a collective .

2016-11-30 1:36 GMT-04:00 Dave Tetzlaff :

> > I wonder if there is any alternative to it at a decent price (under 10
> K?)
>
> Did you really mean “under $10,000”?
>
> Well, there’s the MovieStuff Retro, $4.500: http://moviestuff.tv/
> moviestuff_home.html
>
> Mr. MovieStuff, Roger Evans, used to make film scanners based on projector
> mechanisms, probably similar in function to the Reflecta. Some (i’m not
> sure if all) of these carried the name “Workprinter”. He kept refining the
> design, moving away from the projector working like a projector to a more
> controlled scanning method. I’ve never seen one in person, but the guy has
> been in business a long time now, so I can’t imagine the stuff is bogus.
> There are probably used models of that older ‘Workprinter’ type out there
> somewhere.
>
> > I know there are filmmakers who have cheaply rigged up an Arduino setup
> for it..
>
> I think that may refer to this: http://kinograph.cc/
>
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Re: [Frameworks] film scanner

[Francisco Torres]

I wonder if there is any alternative to it at a decent price (under 10 K?)

2016-11-29 18:08 GMT-04:00 Dan Anderson :

> I bought a Wolverine.. It's easy to use and very handy, but the image
> quality is quite poor. I went in with low expectations based on the reviews
> and was still disappointed. Lots of digital artifacts. The one saving grace
> is that it captures "frame-by-frame" so you don't get a digital blur
> between the frames that you might get from shooting off the wall with an
> HD camera. You also need to correct the 30fps speed and aspect ratio.
> Unfortunately, the awful camera is also built into the device in a way that
> would be difficult to pop open and easily upgrade.
>
> All that said, I don't think it scratched or noticeably damaged my film
> (knock on wood!) and is a good way to easily transfer footage to preview.
> And if it's just yard sale movies or something you're not that personally
> invested in, it looks decent at a glance. But if it's footage you care
> deeply about or shot yourself, it won't be pretty. Probably 60-65% of the
> image quality as compared to projection.
>
> On Tue, Nov 29, 2016 at 3:23 PM, Greg Schmitz 
> wrote:
>
>> Here's a review from YouTube:
>>
>> "Wolverine 8mm and Super 8mm Film 2 Digital MovieMaker - REVIEW and test
>> footage"
>> https://www.youtube.com/watch?v=-WN44a0l5g8
>>
>> --greg
>>
>>
>>
>> On 11/29/16 11:04 AM, George, Sherman wrote:
>>
>>> I received an ad for a Wolverine Data regular8/super 8 digital film
>>> scanner.
>>> Has anyone used/tested this device and, if so, what was the quality of
>>> the transfer.
>>> At $ 300 it seem like a deal.
>>> Any evaluation would be welcome.
>>> Thanks
>>>
>>>
>>> Sherman George
>>> sgeo...@ucsd.edu
>>> 858-229-4368
>>>
>>>
>>>
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>>
>>
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>
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Re: [Frameworks] Films on Gold and Gold Mining

[Francisco Torres]

Gold Diggers, The (1983)
http://www.screenonline.org.uk/film/id/453393/

2016-11-17 18:41 GMT-04:00 Jana Debus :

> Dear Frameworkers,
>
> please help me compile a list of
> Films
> / expanded cinema
> / art or research projects
> on Gold and Gold Mining.
> Gold Fever. Prospectors. Forty-niners.
>
> Thank you all.
>
>
> Sincerely,
>
> Jana
>
>
>
>
>
>
>
>
>
> jana debus
>
> email i...@janadebus.com
> cellphone +1 415 202 3193
>
> All information contained in this document is confidential.
> Any use beyond intended use is unethical and strictly prohibited.
>
>
>
>
>
>
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Re: [Frameworks] Films on Farming

[Francisco Torres]

Dave Tetzlaff- 'The companion pieces are opposites, ‘Leche’
dreamy-positive; ‘Mala Leche’ fetid-negative, but each, in their own way,
ideologically clueless and corrupt.''

Which makes me wonder why do most filmmakers when making
''social''/''ethnographic'' films usually go outside their own group and
choose some ''outsider'' group? After all the group they know the best is
their own so why not make films about their own people? Because most times
when they look out they get everything wrong and the films end up a mess

2016-11-17 12:28 GMT-04:00 Linda Fenstermaker :

> Thank you all for the inspiring links and title suggestions. Dave, I agree
> that this is a relatively unexplored subject for experimental makers, which
> is why I put out a call to see if others knew of more films that dealt with
> farming than I did. I am also a filmmaker that works on a small scale
> vegetable farm in the Northwest and am constantly inspired by the work and
> surroundings. I am interested in where films inspired by farming falls
> between landscape film, documentary and experimental works. Thanks again
> for all the leads!
>
> Linda Fenstermaker
>
> -- Forwarded message --
> From: Dave Tetzlaff 
> To: Experimental Film Discussion List 
> Cc:
> Date: Mon, 14 Nov 2016 19:44:30 -0800
> Subject: Re: [Frameworks] Films on Farming
> > Mala Leche (2003) by Naomi Uman
>
> 'Mala Leche' is a racist/classist/xenophobic POS about a Mexican immigrant
> family living in a slum in California.
>
> The film about farming is just ‘Leche’ (1998) a totally romanticized
> vision of life on a rural Mexican dairy farm, then the home of the family
> later featured in ‘Mala Leche’.
> The companion pieces are opposites, ‘Leche’ dreamy-positive; ‘Mala Leche’
> fetid-negative, but each, in their own way, ideologically clueless and
> corrupt.
> __
>
> A wonderful, unorthodox (if not exactly experimental) farming related
> short film: Chuck Statlers ‘Ain’t We Having Fun’ — scenes from the annual
> turkey festival in Worthington, MN.
> https://www.youtube.com/watch?v=PBwYvMcqRmI
>
> Back in the previous decade when I was attending UFVA regularly, I saw
> several experimental shorts about animal rights issue in terms of animal
> farming and slaughter made by a PhD student than at Kansas named Mark von
> Schlemmmer. I just Googled him, and he’s teaching at Central Missouri know.
> He has a Youtube page at: https://www.youtube.com/pl
> aylist?list=PL7691C304BAC252F5
> As I recall the pieces, what they lack in polish may be made offset for
> your purpose by the subject and the passion applied to it.
> __
>
> It seems to me a lot of the requests here for ‘experimental films about
> [topic X]’ are for topics not only where few, if any, experimental films
> exist, but also, like ‘farming’, the sort of concrete subjects experimental
> films rarely if ever actually address or illuminate even when some element
> of that topic has been in front of the lens.
>
> That said, ‘farming’ strikes me as a kind of rich but unexplored territory
> for inspiration or connection or material for many of the kinds of things
> experimental makers do.
> It’s certainly true that most makers have lived in and taken images from
> cities. When leaving the urban, experimental work has most often been
> wrapped up in Romantic concepts of ‘nature’. (I had to laugh at Adam’s
> reference to "tilling fields & harvesting crops and working the soil’.)
> Farming’ is pretty much marked by taming nature and bending it to a sort of
> broad social will, with as much high tech as any big industry. So if an
> experimental maker got out to farmland as it actually is, there’d be all
> kinds of objects and actions that could serve as ostrananie to city folks,
> and be grist for the mill of creative eyes and minds: giant combine
> machines and elevators and irrigation systems, de-tasseling brigades…
> Someone could do a cool ‘found footage’ piece cu from the TV ads that play
> in Iowa, both local spots and big-budget high-production-value campaigns
> for hybrid seed brands, fertilizer, herbicides and insecticides…. "Whether
> you incorporate you atrazine or add it later, we have the right stuff for
> you!"
>
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Re: [Frameworks] New JUMP CUT: now, online, free

[Francisco Torres]

Thanks, JC is always informative and interesting

2016-11-15 18:43 GMT-04:00 Chuck Kleinhans :

>
>
> New *JUMP CUT: a review of contemporary media*
>
>
>
> Out now, free, online
>
> http://www.ejumpcut.org/currentissue/index.html
>
>
>
> A mammoth celebration of radical media writing
>
> An invigorating antidote to post-election despair
>
>
>
> Featuring:
>
>
>
>
>
> Downtown Film and TV
>
>
>
> Personal documentaries and ethnographic film
>
>
>
> Harun Farocki’s  *Immersion*
>
>
>
> Gatten’s *Secret History of the Dividing Line*
>
>
>
> Jon Jost: *Speaking Directly* and *The Bed You Sleep In*
>
>
>
> Evans Chan’s critical innovations
>
>
>
> New transgender media
>
>
>
> John Greyson’s experimental activism
>
>
>
>
>
> PLUS
>
>
>
> Reprinting the complete archive issues of *Women & Film*, the pioneering
> 1970s feminist film publication
>
>
>
> Major sections on trends in the film industry, Johansson in *Under the
> Skin*, understanding ideology in the media, alternative political
> media--global and US, transgender media,
>
> 1970’s Leftist film, environmental media and queer media.
>
>
> Chuck Kleinhans
>
> Co-editor, *JUMP CUT: a review of contemporary media*
>
>
> --
>
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Re: [Frameworks] Reflections on the horizon

[Francisco Torres]

About the horizon?

2016-11-14 1:12 GMT-04:00 Takahiro Suzuki :

> Hi everyone,
>
> I’m currently collecting written reflections and contemplations on the
> horizon.  If you have a few moments to offer and share your thoughts, I
> would greatly appreciate it.  You can enter your post through the link
> below.  Thanks!
>
> http://www.takahiro-suzuki.com/infinite-horizon/
>
> All the best,
> Taka
>
> Takahiro Suzuki
> www.takahiro-suzuki.com
> www.acinema.space
> thiro.suz...@gmail.com
>
>
>
>
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