Re: [Frameworks] Experimental films on photography

[Mark Toscano]

Hi Albert - Gary Beydler's Hand Held Day doesn't really fit, as it's just a
time lapse film, and no still images are rephotographed in it.

There's also Sam Gurry's Winners Bitch, many by Takashi Ito, Dutchman's
Photographs by Isao Kota, various films by Eriko Sonoda...

An interesting inversion of this idea would be One Year Performance (Time
Clock Piece) by Tehching Hsieh, for which he photo printed all of the
frames from the 16mm documentation film in order to post them in the
gallery space.

Mark T


On Tue, Jun 9, 2020 at 3:06 AM Albert Alcoz  wrote:

> Hello all,
>
> I was making a list of experimental film practices on photography and I
> was wondering if you could suggest more titles.
>
> At first I wanted to focus just on movies where photographs are deleted
> (burned, destroyed) or denied but I only know *(nostalgia)* for Hollis
> Frampton and the project *Found Monochromes* by David Batchelor (slides).
> Does anyone know other films where the main purpose is the destruction or
> the invisibility of photographs?
>
> On the other hand I have started a list of films made from photographs.
> There are dozens of films (some of them animations) where the object of
> analysis are still images, from filmed Polaroids to appropriation of
> advertising images from magazines or the accumulation of digital images
> found on the internet:
>
> *Transformation by Holding Time* by Paul de Nooijer
> *Pasadena Freeway Stills* and *Hand Held Day* by Gary Beydler
> *Production Stills* by Morgan Fisher
> *Frank Film* by Frank Mouris
> *Boy Meets Girl* by Eugènia Balcells
> *Wall *by Takashi Ito
> *Photodiary *by Takashi Ito
> *Clandestine Porn Film* by Augustin Gimel
> *DIES IRAE* by Jean Gabriel Périot
> *The World as Will and Representation* de Roy Arden
>
> Do others come to mind?
>
> Thank you,
> Albert Alcoz
> --
> http://albertalcoz.com/
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Re: [Frameworks] restoration help: IN MARIN COUNTY by Peter Hutton

[Mark Toscano]

Yep!  It's an original 1969 A-wind 7388 print with sulfide track.  It's
actually missing FIVE FEET of material at one splice early on, but luckily
the other print (Peter's personal print) is missing nothing at this point.
Between the two prints, I do have a 100% complete track.  We're doing an
initial transfer of the sound from both prints, then ultrasonically
cleaning them, and then transferring the sound again.  I'm doing this as
both a safety precaution, but also as a test to see how much of a
difference the ultrasonic cleaning makes.  Anyhow, we'll do the best we
can, and at least the track will be complete!

Mark



On Mon, Nov 11, 2019 at 11:23 AM Dominic Angerame <
dominic.anger...@gmail.com> wrote:

> If my memory serves me, In Marin……is an A wind print from the originals.
> It was alway in bad shape, even in 1980 when I came aboard Canyon,
>
> Dominic
>
> On Nov 11, 2019, at 9:30 AM, mrktosc  wrote:
>
> Funny as it may seem, they do exist!
>
> mt
>
>
>
> On Nov 11, 2019, at 9:19 AM, Mark Street  wrote:
>
> Video master?  Peter?  Ha!  ;)
>
> Mark Street
>
> On Mon, Oct 7, 2019 at 4:18 PM Mark Toscano  wrote:
>
>> Hi all,
>>
>> I'm about to work on the restoration of Peter Hutton's early film IN
>> MARIN COUNTY, and I have the original picture roll, but the original
>> soundtrack masters are all lost, and the two extant prints I have (Canyon's
>> + Peter's) are not in great shape.
>>
>> Can anyone point me to another print anywhere of the film (besides the
>> one at Canyon)?  Even a weird old video master could be helpful.
>>
>> thanks much,
>>
>> Mark Toscano
>>
>>
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[Frameworks] restoration help: IN MARIN COUNTY by Peter Hutton

[Mark Toscano]

Hi all,

I'm about to work on the restoration of Peter Hutton's early film IN MARIN
COUNTY, and I have the original picture roll, but the original soundtrack
masters are all lost, and the two extant prints I have (Canyon's + Peter's)
are not in great shape.

Can anyone point me to another print anywhere of the film (besides the one
at Canyon)?  Even a weird old video master could be helpful.

thanks much,

Mark Toscano
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Re: [Frameworks] Research about "Essential Cinema" ? Anthology Film Archives

[Mark Toscano]

When I did some research in the Brakhage papers at CU Boulder, I came
across a bunch of documents pertaining to the Essential Cinema
selection/committee process, which were fascinating.  Stan Brakhage was
initially involved in the committee, but ended up leaving it, apparently.
There were lists of films and spaces for people to vote for the film's
inclusion, etc.  If you can get access to some of that material (maybe P.
Adams still has them?) it would be well worth a look.

Mark T



On Fri, Sep 27, 2019 at 5:44 AM Joel Schlemowitz 
wrote:

> There is a book, titled "Essential Cinema" published by Anthology with
> essays on some of the films in the collection. The introduction tells the
> history of the project.
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[Frameworks] Rob Todd question - Fusion Film Workshop (Boston area)?

[Mark Toscano]

Hi all,

Does anyone know anything about the Fusion Film Workshop, which was
something going on in Boston area 1998-2000 or thereabouts?

Asking because in Robert Todd's collection, there are a few prints of a
trailer presumably made by Rob, culminating in "Fusion Film Workshop
presents".  A search online brought up info on an event so named which took
place in Beverly, MA in July 2000 at the New Harbor Media Institute, but
one of Rob's prints is actually dated Spring 1998, so I'm guessing this
wasn't a one-time thing.

Bottom line, I'm just hoping to figure out what this thing is.  Anyone know?

thanks very much,

Mark Toscano
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Re: [Frameworks] Western Cine guide to editing 16mm film?

[Mark Toscano]

Lenny Lipton's Independent Filmmaking probably has all of this info in it,
and then then then some.

Mark T


On Fri, Dec 14, 2018 at 4:32 PM Eric Theise  wrote:

> The frame says –
>
> Download this Exremely [sic] Helpful Word Document, Courtesy of: MPS
>
> "..Your workprint and tracks serve as the "blue print" for work
> performed at the laboratory. The leaders on the head and tail of your rolls
> of film provide for proper syncing and handling, not only on your rolls,
> but also, on the rolls created later during sound rerecording, negative
> cutting, and laboratory work. Marks on the workprint show the Negative
> Cutter where special effects are required so that the "A" rolls can be
> assembled. The lab uses these same marks to cue the printer to produce
> those effects. The correct preparation of your workprint is important to
> the completion of your production. Errors made because of incomplete or
> incorrect instructions can be very costly to you in both budget and
> deadline. We, at Motion Picture Services, have an interest in helping you
> through this stage of your production. We invite your questions and ask you
> to call us for help or clarification with your production, workprint
> preparation, and schedules (303-777-2110). We have produced the attached
> drawings to show a minimum requirement for leaders and effects marks. Other
> publications such as the "ACVL Handbook" may provide additional information
> that would be useful to you..."
>
> – so that doc didn't originate with Western Cine/Cinema Lab. The page also
> has an image that looks like a return address sticker that says:
>
> Motion Picture Services
> Susie Phillips, (303) 777 2110
> 1115 S. Josephine, Denver, Co. 80210
>
> Post back here if you ever find it, sounds useful.
>
>
> On Fri, Dec 14, 2018 at 4:24 PM Eric Theise  wrote:
>
>> Hi Jason,
>>
>> I think this must be what you're looking for but it doesn't appear that
>> the Wayback Machine actually archived it, just the frame-based site that
>> contained it.
>>
>>
>> https://web.archive.org/web/20040627095859fw_/http://www.thecinemalab.com:80/booklet.zip
>>
>> Eric
>>
>>
>> On Fri, Dec 14, 2018 at 4:11 PM Jason Halprin 
>> wrote:
>>
>>> Hi All,
>>>
>>> In one of my computer updates, I seem to no longer have a pdf of a guide
>>> to 16/35mm film editing that was originally put together by Western Cine.
>>> As I recall, this included guidelines for marking your workprint, preparing
>>> negatives for A/B rolling, and essentially the whole process that someone
>>> working with a negative cutter (or a negative cutter themselves) would want
>>> to follow.
>>>
>>> Does anyone know what I'm referring to? Or, where I might find it? If I
>>> recall, I downloaded it from the Cinema Lab (successor to Western Cine)
>>> website back in the early 2000s.
>>>
>>> Thanks in Advance!
>>>
>>> Jason Halprin
>>> jihalp...@gmail.com
>>> jasonhalprin.com 
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Re: [Frameworks] Bruce Connor - A Movie

[Mark Toscano]

UCLA Film & TV Archive  is the current source for renting prints of Bruce
Conner films.  They haven't been at Canyon for some time.

Mark T

On Fri, May 4, 2018 at 10:05 AM, Adam Hyman  wrote:

> Either Canyon Cinema or the Conner Estate.  You can check with Canyon
> online, and if they don’t, contact Kohn Gallery in LA.
>
> From: FrameWorks  on behalf of
> Kevin T Allen 
> Reply-To: "Experimental Film Discussion List  com>" 
> Date: Friday, May 4, 2018 at 7:10 AM
> To: "Experimental Film Discussion List " <
> frameworks@jonasmekasfilms.com>
> Subject: [Frameworks] Bruce Connor - A Movie
>
> Hi All~
>
> Does anyone know a source where one could rent a 16mm print or HiRes video
> file of Connor's A MOVIE? Surely, there has to be a better version than the
> dubbed VHS version that's made the rounds for decades. Or perhaps it's an
> issue with the Conner estate?
>
> Thanks!
> --
> Kevin T. Allen | ke...@smallgauge.org
> smallgauge.org | kevintallen.com
>
>
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[Frameworks] Works and Days ID?

[Mark Toscano]

Hi all,

Has anyone determined the identity of the original film Hollis Frampton
repositioned as Works and Days?

thanks,

Mark
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Re: [Frameworks] 7302 vs 3302

[Mark Toscano]

Kodak has now discontinued 7302 acetate bw print stock at this point, which
is unfortunate primarily because we (and probably lots of other people)
used it for lightstruck leader too.

Mark Toscano

On Tue, Aug 15, 2017 at 8:54 AM, Scott Dorsey <klu...@panix.com> wrote:

> > So if polyester stocks are stronger, why do Kodak and ORWO make print
> > stocks with acetate base?
>
> 1. It's cheaper.
>
> 2. You can cement splice it, so it can be used to make intermediates.
>
> 3. It's not as strong.  The polyester stock is so strong that if you were
>to run it in a Mitchell and it jammed, the camera movement would fail
>before the film did.  This is a problem for optical printing.
>
> 4. The print looks different.  There is some light piping through the base
>of the polyester print which makes for a slightly different look on
> screen.
>If anything, the polyester looks more like a nitrate print than an
> acetate
>print does.  It's a very small difference, but it's something you can
> notice
>on a really good print on a big screen.
> --scott
>
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Re: [Frameworks] Preservation Insanity / Brakhage & sound

[Mark Toscano]

Hi Rob,

I feel like the question of prior knowledge is particularly meaningful with
regard to the final sound in the film, the recording of Jane giving birth.
Obviously the film is experienced as-is without that knowledge by a lot of
people, but Stan also revealed the source of the sounds as quoted in
Visionary Film, so he apparently didn't feel the need to keep it secret
either.  But he does elude to the mystery and power of the sound, saying
"It definitely sounds like a dog in somebody’s backyard in the drama sense
of that scene, yelping in pain. It does actually carry the sense of a
terror beyond that." suggesting an interest in the sound remaining unnamed
or at least remaining partially abstracted from its source, and now
integral to the film as a moment of weird vital intensity.

In the course of working on the sound restoration, we did, out of
curiosity, halve the speed of that sound to confirm it seemed to just be
doubled (3.75ips played at 7.5ips), which was indeed the case.  We also
tried speeding up the middle sound (the bird song), but actually couldn't
quite figure out the right speed that made it sound "normal", which was
curious.

The question of prior knowledge is a pretty complicated one, and something
I'm pretty interested in (and that even some of my own films are about).

Prior knowledge of contextual/production/technical details about a film
which are there from the start but either deliberately or casually hidden
can be an interesting and intentional component to the work - with
Brakhage, I think about some of his films being made in direct response to
his cancer diagnosis and treatments - one doesn't necessarily know that
about them when seeing them, but he did reference those personal
experiences in some contexts, and having that knowledge radically changes
one's viewing of the films (like Commingled Containers or Self Song/Death
Song).

And sometimes it's knowledge that only comes later from subsequent events
or revelations.  Gus Van Sant has a short film called Ken Death Gets Out of
Jail, a three-minute short portrait/interview with Ken Death after he got
out of a jail from a robbery charge or something like that.  It's a
fascinating film, pretty charged and complex, really compelling, funny,
upsetting, etc.  Within a few years of its making Ken Death was one of a
trio of skinheads arrested for the murder of an Ethiopian immigrant
student.  He went to prisoner for murder, then died in prison years later.
Seeing/showing the film now, it can either be hyper-loaded with this info
or not, depending on whether someone knows about Ken Death.  In Portland,
everyone knows, so it plays radically differently there.

Mark



On Tue, Aug 8, 2017 at 4:07 AM, Rob Gawthrop <r...@robgawthrop.co.uk> wrote:

> Thanks for this.
> Knowing what the sources are for the sound of *Fire of Waters* is
> particularly interesting for me as previously I did not know these facts
> although there had been much conjecture. My reference to it in my article  
> THUNDER
> & LIGHTNING* Noise: **Aesthetics and Audio-visual Avant-garde Practice*
>  in Goddard. et al. (Eds.). *Reverberations: The Philosophy, Aesthetics
> and Politics of Noise*  (Continuum), described the sound as heard;
> likening the sound to external sources somewhat different to what they
> actually were. The troubling question that this raised is:  how does
> prior knowledge of what is being heard (and seen for that matter) affect
> the viewing-listiening experience of the film?
>
> Best Wishes
>
> Rob
>
>
> On 7 Aug 2017, at 02:21, Mark Toscano <mrkt...@gmail.com> wrote:
>
> Hi all,
>
> I realize it's kind of self-promotional, but since a halfway decent amount
> of people seemed to like it, I hope you'll indulge me a bit of news about
> my Preservation Insanity site.
>
> Just wanted to spread the word that after a long period of inactivity,
> I've moved, spiffed up, and begun posting again to the site, which is now
> here:
>
> https://preservationinsanity.wordpress.com/
>
> For those who haven't checked it out before, I try to write periodically
> about archiving, preservation, and experimental film, so if that's of
> interest, please do give it a look!
>
> The most recent post is a somewhat epic one I finished today about the
> soundtrack for Brakhage's film Fire of Waters, and the restoration
> questions it poses, with a healthy dose of info about his sound filmmaking
> approaches to boot.
> And if you're on Instagram and interested, I've been posting more
> bite-sized things for about a year now under the name
> preservationinsanity.  Again, feel free to follow it if it's of interest!
>
> Thanks for indulging me -
>
> Mark T
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Re: [Frameworks] Preservation Insanity / Brakhage & sound

[Mark Toscano]

Thanks Pip!  I know what you mean, as it's not the first time someone
mentioned it to me.  I have a tendency to prefer reading dark bgrd/light
text designs, but I realize I'm probably in the minority.

So I just switched the color scheme to something that I hope is easier on
everyone's eyes.  I just don't think I can do basic black on white, so
hopefully the dark grey text on light grey background is an improvement.

all the best,

Mark

On Sun, Aug 6, 2017 at 10:17 PM, Pip Chodorov <framewo...@re-voir.com>
wrote:

> Hi Mark,
> This is great reporting and writing, and philosophical musing, thanks!
> My one comment: can you not design it white on black? It's hard on the
> eyes to read...
> All the best!
> Pip
>
>
> At 18:21 -0700 6/08/17, Mark Toscano wrote:
>
>
> https://preservationinsanity.wordpress.com/
>
>
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[Frameworks] Preservation Insanity / Brakhage & sound

[Mark Toscano]

Hi all,

I realize it's kind of self-promotional, but since a halfway decent amount
of people seemed to like it, I hope you'll indulge me a bit of news about
my Preservation Insanity site.

Just wanted to spread the word that after a long period of inactivity, I've
moved, spiffed up, and begun posting again to the site, which is now here:

https://preservationinsanity.wordpress.com/

For those who haven't checked it out before, I try to write periodically
about archiving, preservation, and experimental film, so if that's of
interest, please do give it a look!

The most recent post is a somewhat epic one I finished today about the
soundtrack for Brakhage's film Fire of Waters, and the restoration
questions it poses, with a healthy dose of info about his sound filmmaking
approaches to boot.
And if you're on Instagram and interested, I've been posting more
bite-sized things for about a year now under the name
preservationinsanity.  Again, feel free to follow it if it's of interest!

Thanks for indulging me -

Mark T
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Re: [Frameworks] Motion graphics title using slit-scan....

[Mark Toscano]

John Whitney developed motion picture slit-scan photography, and though he
didn't really use it in his own films, he did in his commercial work.  But
it pretty quickly became a standard tool for effects houses, showing up in
commercials, logos, special effects movies, etc., so there are probably
lots of examples out there from a lot of effects people.  Robert Abel &
Associates specialized in it.

Like here's one example from Abel:
https://www.youtube.com/watch?v=XsYFjITWXSo


Mark Toscano

On Mon, Oct 31, 2016 at 10:07 AM, George, Sherman <sgeo...@ucsd.edu> wrote:

> Every time the Enterprise goes into warp drive and the narrative scroll in
> 2001.
> Here is a link that is a pretty good explanation:
> https://vimeo.com/71702374
> Hard work on film but there must be an easier way digitally.
> Sherman
>
> > On Oct 31, 2016, at 6:22 AM, Kasper Lauritzen <byldorf.fi...@gmail.com>
> wrote:
> >
> > Dear Frameworkers,
> >
> > I remember reading about slit scan photography being used to make title
> sequences where the static title is turned into a rolling wave, by moving
> the printed title up and down. I thought it was John Whitney who did it (I
> could be wrong), but now I can't find it again, and I forgot the original
> source.
> > So does anyone have a clue which film, TV series or advertisement that
> used this technique specifically to make the "wavy title"?
> >
> > Thank you very much
> > Kasper
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> 858-229-4368
>
>
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Re: [Frameworks] oxberry optical films

[Mark Toscano]

Off the top of my head -

Sarah Biagini has a really excellent 16mm film called I SWIM NOW:
https://vimeo.com/35387818
and her Vimeo page has a number of other short works making quite elaborate
use of the optical printer, including Ikiru Wipes, in which she isolates
all the different wipes in Kurosawa's Ikiru and piles them on top of each
other and so forth.

Heather Trawick has done some very cool optical work in her films, though I
can't recall specifically in terms of traveling mattes, etc.

Naoko Tasaka made a really mesmerizingly weird film called Flower, which,
though it was finished on digital, does reflect a lot of optical work and
hand-processing she did throughout the process.

John Kneller, Paul Winkler, Daichi Saito, Andrew Busti... Malena Szlam has
some fantastic work, and has some new stuff in the works which may or may
not involve optical printing.

Mark T

On Wed, Sep 21, 2016 at 11:03 AM, rebecca moran 
wrote:

> Hi all!
>
> I forgot to mention, I am specifically looking for new works that were
> created in the last five years, and also would like to highlight that works
> by female filmmakers are greatly appreciated!
> I have gathered quite some of the classic optical printer pieces from
> lightcone and canyon from the 70's 80's.
>
> best,
> Rebecca
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[Frameworks] The Ann Arbor Film Festival

[Mark Toscano]

Hi everyone,

Some of you may not be aware that David Dinnell, in my opinion one of the
truly great film curators we have in the world today, was unceremoniously
and abruptly dismissed by the Ann Arbor Film Festival a few months ago.

Aside from the thoughtless and callous nature of this act, it's just an
infuriating and baffling decision which has, for me and many others, tossed
everything that made the Ann Arbor Film Festival great over the past
several years into the trash.

I'm far from the only person who feels that under David's tenure as program
director, Ann Arbor extremely quickly became one of the most interesting
global showcases for independent/experimental media art.  This was in giant
part due to David's far-reaching, creative, and thoughtful programming, as
well as the sense of community that this outreach was able to foment at Ann
Arbor for the festival every year.  Obviously there were many other Ann
Arbor community members and the very dedicated staff that made this happen
along with David, but David's curatorial vision gave so many people a big
reason to be excited every March to attend, to see an excellent and
inspiring program of work of all kinds, and also to participate in the
community that would assemble there.

For my part, I can't express how disappointed I am that this will no longer
be the case and how pissed I am that the festival's director and board so
unconscionably and stupidly dismissed David.  I will not be collaborating
with the festival in any way moving forward.

If you're someone who enjoyed Ann Arbor in the past several years in person
or from afar, via the festival itself, its touring programs, its DVD
compilations, or just in the pleasure of its extensive program guides,
please read and consider signing this petition to express a community's
displeasure with this recent and highly problematic turn of events.

http://www.ipetitions.com/petition/letter-to-the-board-of-the-ann-arbor-film-festival

thanks for your patience with my rant -

Mark Toscano
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Re: [Frameworks] Resources on history of 16mm technology

[Mark Toscano]

My one counter to David's comments (if I'm reading you right) would be that
the vast majority of artists working in 16mm from the '40s through the '60s
did in fact use Kodachrome and Ektachrome, among other stocks.  Color
negative didn't even exist in 16mm until 1964, and very few "experimental
filmmakers" used it much until the later '70s or even early '80s.  And
throughout some of this period, you could get your stocks edge numbered if
you wanted, and plenty of people did.  Even Gimme Shelter was shot on
Ektachrome.  Plenty of other filmmakers didn't bother workprinting, or did
so without using edge numbers for matching (Brakhage never workprinted, for
instance).

The basically forgotten Anscochrome was a popular stock in the '50s and
'60s too.  Brakhage shot Window Water Baby Moving and several of his other
early color films on it.  Kodak introduced a lower contrast stock called
Kodachrome Commercial in 1946 specifically to target people wanting to
shoot color more professionally.  Curtis Harrington shot The Assignation on
it.  It was replaced by Ektachrome Commercial (ECO) in 1958, which was a
lower-contrast, slow Ektachrome designed to be printed rather than
direct-projected.  ECO was absurdly widely used until the early '80s.

Mark T

On Wed, Jul 13, 2016 at 12:58 PM, Dave Tetzlaff  wrote:

> > I'm writing about the use of 16mm in experimental filmmaking of the
> 1970s and am looking for texts that deal with the history of film
> technology, scholarly sources that look, for example, at the emergence of
> 16mm as an amateur/documentary/artists' medium.
>
> Hmm. If we distinguish 'amateurs' from 'artists' 16mm emerged as an
> amateur medium decades before the 70s, and was all but submerged for
> amateurs by the 70s, in favor of Super-8. You'd be hard pressed to find any
> artists who worked with the 'amateur' 16mm cameras that were made at least
> through the 1950s: Kodak K100, B+H 240, Reveres… and only spare use of
> 'amateur' Kodachrome and Ektachrome stocks that didn't come back from the
> lab with edge numbers.
>
> The history of documentary tech is a whole 'nother creature -- all 16mm up
> to the 70s -- but marked by advances in blipping, sound sync, battery
> power, coaxial magazines, reflex finders, etc. etc. (I have an AC-power
> only Yoder-style chop-top in my closet, if anyone wants one…). Only in the
> 70s did portable video emerge as a documentary medium, e.g. in the ½"
> open-reel 'Four More Years' by TVTV.
>
> Experimental filmmaking was not articulated to 'amateur' filmmaking as
> much as industrial/educational filmmaking. Experimental filmmaking was
> dependent on the wide availability of cameras, projectors, stocks, labs
> etc. primarily used by the 'A/V' market. Once that market moved to video,
> those sources began to dry up, posing ever-increasing difficulties to
> photo-chemical experimental work. A tech history of experimental film in
> the 70s should also look at it's intersections/oppositions to technologies
> used in 'video art', e.g. in Scott Bartlett's 'Off/On', and computer
> graphics, e.g. John Whitney.
>
> All that said, for the history of 'amateur' film, it would be remiss not
> to mention the work of FRAMEWORKER Patti Zimmerman, noted on the CHM site
> Buck linked.
>
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[Frameworks] Tony Conrad video ID

[Mark Toscano]

Hi all -

Does anyone know the name (if it has one) of the very short video piece
Tony Conrad made in which he inserted himself into some kind of rough porno
with his shirt off (maybe even holding a drink?), saying something to the
effect of, 'Whoah, I didn't know it was THIS kind of party...!'  - my
memory could be somewhat off on the details, but if you've seen it, you'd
remember it.  He showed it at LA Filmforum maybe ten years ago, and I was
hoping to screen it in an upcoming program if it's obtainable somehow.

thanks all,

Mark Toscano
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Re: [Frameworks] (nostalgia) versions...

[Mark Toscano]

The transfer on the Treasures IV set was supervised by the inimitable Mr
Bill Brand, who knows the films intimately, and also has helped supervise
restorations and digital mastering of numerous other Frampton films.

Mark T

On Fri, Mar 4, 2016 at 10:22 AM, Ken Eisenstein  wrote:

>
>
> Cf. the version on Treasures
>
>
> http://www.filmpreservation.org/dvds-and-books/treasures-iv-american-avant-garde-film
>
>
>
>
> On Fri, Mar 4, 2016 at 1:06 PM, John Muse  wrote:
>
>> Having checked with the usual suspects, I'm at a loss to explain the
>> discrepancy between the version of (nostalgia) on the 2012 Criterion disk
>> and the version described by a few folks, one being Shari Segal, who in a
>> 2005 essay entitled From the Private to the Public" writes:
>>
>> > Each voice-over begins fifteen to twenty seconds after the new
>> photograph appears, precisely the amount of time permitted before the
>> photograph’s destruction visibly begins.
>>
>> This doesn't describe the voice-over to image relationship I see in the
>> 2012 disk.  The voice-overs begin before the new image arrives, not 20
>> seconds after.  Is she wrong?  Or did she see a different film?
>>
>> Clues?  And I apologize if the answer is obvious.
>>
>> j/PrM
>>
>> *
>>
>> john muse
>> visiting assistant professor of independent college programs
>> haverford college
>> http://www.finleymuse.com
>> http://www.haverford.edu/faculty/jmuse
>> http://haverford.academia.edu/JohnMuse
>>
>> *
>>
>>
>>
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>
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Re: [Frameworks] structuralist/materialist films by women

[Mark Toscano]

some LA stuff:

Picture Without Sound & Now Playing by Susan Rosenfeld

various by Roberta Friedman & Grahame Weinbren, including Bertha's
Children, After Ten Minutes Lines, The Making of Americans, Future Perfect,
Murray and Max Talk About Money, and others.

Film Achers by Beth Block

-mark t


On Fri, Feb 19, 2016 at 3:36 PM, John Muse  wrote:

> I'm looking for structuralist/materialist films by women, whether made in
> the 60's and 70's or later.  Gidal include Wieland in his anthology;
> Sailboat is lovely, comic, and punchy.  And I, against the grain,
> appreciate Ono's Fluxus works from this angle.  I just found Birgit Hein
> and will recruit Akerman's Le Chambre for the purpose.  Leslie Thorton's
> X-TRACT helps too.  Thank you UbuWeb!  What am I missing?
>
> j/PrM
>
> *
>
> john muse
> visiting assistant professor of independent college programs
> haverford college
> http://www.finleymuse.com
> http://www.haverford.edu/faculty/jmuse
> http://haverford.academia.edu/JohnMuse
>
> *
>
>
>
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[Frameworks] RIP Robert Russett

[Mark Toscano]

Very very sorry to report that we lost the brilliant and incredible artist
and scholar Robert Russett on March 26.

For the past few years, I've been honored to work with him on restoring his
remarkable 16mm films, something which is still ongoing.  Bob was really
thrilled that people had started to rediscover his singular film work, and
I'm eager to continue until all are preserved and screenable again.

He was particularly gratified that Primary Stimulus and Neuron found an
enthusiastic new audience at Views From the Avant-Garde at NY Film Fest a
couple of years ago, having been rejected by the festival at least a few
times in the '70s (!)  Thanks to Mark McElhatten for enabling us to share
those.

For those of you who may only know Robert Russett for his co-writing (with
the amazing Cecile Starr) of the crucial Experimental Animation, you will
soon have an unreal body of work to discover.  Keep an eye out!

RIP Bob...

Mark Toscano
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Re: [Frameworks] Super 8 to 35mm Optical Blowup

[Mark Toscano]

Hi Chris,

I'm glad you asked, as it's a subject I feel fairly passionately about.

I'll first just clarify that the super 8 to 35mm blowup I'm seeking is
purely for a project of my own which has to do with the large stretch
between the two formats (i.e. it's a film which has specifically to do with
the extra large blowup).  As soon as I have the details hammered out on
that, I'd be happy to say more about it...

As for blowups in general, though - since it's no longer possible to do
run-of-the-mill contact printing in 8mm or super 8, and since there's
already a decades-long tradition of blowups of 8 to 16, I think it's a less
problematic way to make smaller gauges viewable on film, when duplication
is necessary.  It's still a translation, though.  Some filmmakers shot
super 8 with the express intention of blowing up (as with some of
Brakhage's films, James Otis's films, and many others), some shot and
printed super 8 with only that intention, no blowup in mind, but then
decided later on to blow up to 16 for whatever reasons (usually a matter of
making the work more accessible, preserving it, etc.)

Blowing up 16mm to 35mm on the other hand has nearly always seemed a really
problematic step to me (unless of course the artist has that specifically
in mind).  From a preservation standpoint, it can cost twice or even 3-4
times as much as doing the work in 16mm, it's inherently changing the
nature of the film in terms of scale, grain structure, etc., and it makes,
I think, a somewhat elitist political statement that only venues capable of
showing 35mm will now have access to that film.  I've been saying (here and
there, to whomever would let me blather about it) for a dozen years that,
on top of these aesthetic/political concerns, the preservation question of
35mm being somehow more archival or likely to have increased longevity
over 16mm was almost certainly going to be totally false.  In terms of
archival stability, the stocks in 16 and 35 are the same in these purposes,
and would have the same chemical longevity, more or less.  And preserving
in a gauge not the film's own changes its essential nature, so that very
aspect of its identity (its gauge) is lost in the preservation.  Plus I've
never followed the logic that primarily commercial archiving entities make,
that bigger/sharper/faster/etc. is better, because it's clearly bullshit.
What's better is preserving a film as unfussily in its original format as
is possible.  And as for 35 outlasting 16, we've seen where that's gone -
only a handful of devoted cinephiliac venues and museums can handle 35mm
now, and a lot of those handle 16mm too.  PLUS, any number of classrooms,
galleries, microcinemas, backyards, whatever, can and do show 16mm on any
number of projectors kicking around out there.  The 35mm projection
knowledge base (especially regarding maintenance) is supremely limited,
whereas a ton more folks have figured out how to run and even maintain, to
some degree, the 16mm projectors they have.

Anyway, I'm ranting.  But bottom line, my feeling is to preserve 16mm as
16mm as long as it's possible!

Mark Toscano


On Tue, Mar 17, 2015 at 8:36 AM, direc...@lift.on.ca wrote:

 Mark,

 Since we're on the subject, is there a reason you're going to 35mm rather
 than 16mm? Although 35mm is definitely more robust and beautiful (with a
 great soundtrack potential), my sense now is that a 16mm print might have
 longer life than a 35mm print.

 Now that so many places have taken out their 35mm projectors, its less of
 a presentation medium for many places. 16mm, on the other hand, is still
 very portable, so you can always bring the projector in if there's
 interest.

 My 35mm prints sit on the shelf. My 16mm prints occasionally get taken for
 a spin.

 Do you have a more positive take on the future of 35mm vs 16mm?

 thanks
 Chris



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Re: [Frameworks] loop printing at lab

[Mark Toscano]

Fotokem does.  I think there's a loop setup charge, but I don't remember it
being too much.  I did it once, about a couple of years ago, and they did a
great job.

Mark Toscano


On Mon, Feb 2, 2015 at 5:14 PM, Sasha Janerus sasha.jane...@gmail.com
wrote:

 Anyone out there know of a lab that would do some loop printing at a
 reasonable price? Fotokem? Niagara?

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[Frameworks] Worth a look for the film-concerned: Tarantino taking over the New Beverly Cinema

[Mark Toscano]

For those not in LA or not familiar with the New Beverly, it's a longtime,
beloved local rep house that still does classic double feature programming,
mostly on 35mm.  In fact, they only got a DCP-ready projector a few months
ago for the first time.

Quentin Tarantino has been the benevolent landlord of the New Bev for seven
years now.  He bought the building to save it from being turned into condos
when Sherman Torgan, the New Bev's programmer/operator died.  Since then,
Michael Torgan (Sherman's son) has continued to run the New Bev in the
tradition of his dad, as a classic rep house, and Tarantino paid for a
bunch of upgrades to help them out.

Anyway, on the heels of Tarantino being one of the high-profile directors
who essentially made an ultimatum to the studios about continuing to
support 35mm and Kodak, this news (via an interview with Tarantino) showed
up in the LA Weekly:

http://www.laweekly.com/publicspectacle/2014/09/05/quentin-tarantino-on-his-new-role-running-the-shows-at-new-beverly-cinema

I thought it'd be relevant here, because although the New Bev hasn't
traditionally shown any experimental work, this is a particularly big
commitment to film-only exhibition (including 16mm) in 2014.

Mark T
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[Frameworks] announcement from Colorlab re: 16mm b/w services

[Mark Toscano]

Though this announcement was directed more to film archives/archivists, I
figure it would be relevant here too.

Mark T

**

Colorlab Announces Full Continued Support for 16mm B/W Film Intermediates
and Prints

Many of you are no doubt aware Kodak has made the unfortunate
decision to discontinue 16mm polyester intermediate film stocks 3234
Duplicate Negative and 3366 Fine Grain Master Positive.  This decision took
effect at the end of August, leading archivists and filmmakers to question
the viability of laboratory support for the 16mm b/w format.  As proponents
of the 16mm format, Colorlab will continue to support b/w film and we have
on hand extra 16mm b/w stock to handle all jobs currently in house and as
well as incoming ones.
In the meantime, we are currently testing alternative film stocks and
intend to have a steady source of newly manufactured 16mm b/w polyester
intermediate films in order to continue to serve our clients and the
preservation community at large.  Our plans at this time do not include
automatically blowing up to 35mm film stocks or utilizing 16mm color
internegative or color duplicate negative stocks to achieve b/w results.
Both methods unnecessarily drive up preservation costs and aesthetically
dilute the end preservation document.
While the film industry, and 16mm in particular, have undergone major
changes in recent years, we will continue to serve and support our 16mm
clients and the filmmaking/preservation community as a whole.


Russ Suniewick, President
Colorlab Corp.
5708 Arundel Ave
Rockville, MD 20852
301-770-2128

27 West 20th St., Suite 307
New York, NY 10011
212-633-8172


Dean Plionis
colorlab
Marketing and Customer Service
5708 Arundel Ave.
Rockville, MD 20852
Phone: 301-770-2128 x133
Fax: 301-816-0798
de...@colorlab.com
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Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in December

[Mark Toscano]

Hi all,

I heard from our Kodak rep, and I don't really have anything super helpful
to add.  I forwarded her Alex's initial email about upcoming
discontinuations.  She said the products to be discontinued weren't at all
finalized, but that she did expect to see another discontinuation of some
kind issued by the end of the year.  She said she was sad to see the list
in Alex's email, because it was the first she'd heard of any specific
products mentioned, and whether or not that info ends up being correct is
uncertain, but she hoped not.  But I wouldn't be too encouraged, just in
case.

She also mentioned that it's still possible to place an order for 7363
hicon as of today, though I don't know how much longer that'll be the case.
 She said there've been a lot of orders for it, which was unexpected good
news for them, and partly why they've decided to fill all the orders coming
in now as best as possible.

More info as I get it...

Mark


On Sat, Aug 30, 2014 at 5:53 AM, Alex Balkam blueswingingd...@gmail.com
wrote:

 Hey team Frameworks,

  I just thought I would share news that I received from Kodak... not sure
 if the list already knew about this and it is repetition but I felt it
 warranted sharing.

  Probably in December Kodak will be announcing the discontinuation of a
 number of motion picture film products. The products I know about are:

 *7207  7203* 100’
 *Tri-X* 400’
 *5222* 1000’
 *7222* 100’ 400’

  There may be more than I am aware of. This is in addition to the sad news
 about Ektachrome and Hi Con.

  It may be time for Frameworks to consider contacting (or choosing a
 Frameworks representative to contact) the higher ups at Kodak to express
 the importance that the less industrial, less Hollywood products really
 need to be maintained during this challenging time in order that we can
 continue to expose young filmmakers and the public to the merits and beauty
 of film. All of us on this list help Kodak in various ways by creating our
 works on their film stock, and this in turn helps to ensure films presence
 moving forward in the motion picture world - whether it be workshops with
 kids who will become the filmmakers of the future, experimental cinema or
 the fine arts/gallery settings, our efforts help Kodak and we need to make
 sure we are pleading our case that they maintain the products we use.
 Mainly, I am speaking about Tri-X in 100' 16mm and S8... I was told they
 originally were going to discontinue the 100' loads of Tri-X 16mm.
 Thankfully, enough people (perhaps film schools and educators) sent letters
 to Kodak complaining that this would essentially hinder there ability to
 promote film and inspire new generations to appreciate it, so Kodak is
 continuing its sale for now.

  Perhaps we need a concerted effort from Frameworks to speak to Kodak
 about the merits of maintaining introductory, educational and smaller gauge
 film products during this time. I am thinking there must be some way to
 make them realize that the only way we will have Tarantinos lobbying major
 production companies to guarantee Kodak contracts in the future is to be
 able to show the next generation what it means to work on film.

  Thanks!

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Re: [Frameworks] Duart Vault in the NY Times

[Mark Toscano]

Just in case, I checked with DuArt about the Sandy Daley/Mapplethorpe film,
and they told us she retrieved it in 1997, so at least it's with her,
though who knows what/if she had to pay...  If anyone still has material
there, email me offlist, I might be able to assist.

Mark


On Wed, Aug 27, 2014 at 11:43 AM, Mark Toscano fiddy...@gmail.com wrote:



 -- Forwarded message --
 From: Dominic Angerame dominic.anger...@gmail.com
 Date: Mon, Aug 25, 2014 at 9:00 AM
 Subject: Re: [Frameworks] Duart Vault in the NY Times
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com


 I have heard this complaint for decades from filmmakers who have their
 originals stored in Du Art. This includes Sandy Daley who could not
 retrieve her original 16mm negs of Robert Having His Nipple Pierced. In the
 late 80's Du Art (the supposed Rolls Royce of Labs) wanted to charge her a
 fortune to retrieve her negatives. I do not know whatever the outcome was.
 This is part of Du Art's legacy I do not think that history will miss this
 place.

 Holding original experimental films for ransom is unforgivable no matter
 who the filmmaker is. The $200k should have been used to investigate those
 negatives that belong to the cinema art world.

 Dominic


 On Fri, Aug 22, 2014 at 11:49 PM, Bill Seery b...@mercermedia.com wrote:


 http://www.nytimes.com/2014/08/24/movies/at-duart-thousands-of-unclaimed-films.html?_r=1

 Better get them while you can. I've seen plenty of films I've worked on
 sitting around there. No mention of all of the films that have been tossed
 in the dumpster over the past few years.



 Bill Seery
 b...@mercermedia.com
 212.627.8070




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Re: [Frameworks] If you want Kodak hicon, order it now

[Mark Toscano]

Just heard from Kodak, and indeed, the 35mm hicon (5363) is NOT currently
being discontinued, so no worries (for now!)

Mark


On Wed, Aug 27, 2014 at 12:42 PM, lindsay mcintyre email.li...@gmail.com
wrote:

 Hi Mark

 Are you sure about the 5363? You were right about everything else but
 I hadn't heard about 5363.  I've got my order in for 7363 but just
 wondering if I need to worry about this one too.
 Thanks

 Lindsay McIntyre





 On Tue, Aug 26, 2014 at 11:54 AM, Mark Toscano fiddy...@gmail.com wrote:
  Hi all,
 
  I spoke to the L.A. Kodak rep yesterday, and 7363 16mm hicon is on back
  order, but the current plan is for Kodak to most likely fill any order as
  long as it comes in basically NOW.
 
  So if you want any of this stuff, call 1-800-621-FILM and place an order
  while you can.  You will likely be told it's on back order, but you
 should
  be able to place an order anyway.  It's not a 100% guarantee at this
 point
  that you'll get the stock, but it's very likely.
 
  The same should be the case for 5363 35mm hicon, which I believe is also
  being discontinued.
 
  All the best,
 
  Mark Toscano
 
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[Frameworks] If you want Kodak hicon, order it now

[Mark Toscano]

Hi all,

I spoke to the L.A. Kodak rep yesterday, and 7363 16mm hicon is on back
order, but the current plan is for Kodak to most likely fill any order as
long as it comes in basically NOW.

So if you want any of this stuff, call 1-800-621-FILM and place an order
while you can.  You will likely be told it's on back order, but you should
be able to place an order anyway.  It's not a 100% guarantee at this point
that you'll get the stock, but it's very likely.

The same should be the case for 5363 35mm hicon, which I believe is also
being discontinued.

All the best,

Mark Toscano
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Re: [Frameworks] Duart Vault in the NY Times

[Mark Toscano]

Pip - does that mean you got the Catfilm original out for Standish?  That's one 
of his originals that didn't turn up in his collection. 

Thanks,

Mark

 On Aug 23, 2014, at 1:01 AM, Pip Chodorov framewo...@re-voir.com wrote:
 
 Thanks for the article Bill.
 
 When DuArt was closing they were charging an arm and a leg to release 
 negatives, supposedly years of storage fees that had accrued over the years.
 
 In 2011 Jeff Kreines alerted me that I had a can there, and Standish Lawder's 
 negative of Catfilm for Ursula was there as well. I contacted Steve Blakely 
 at that time, mentioned in this article. His reply:
 
 There will be storage and labor to retrieve costs due for the accounts
 left here for over 32 years.  The recent normal rate was
 $40.00 per month minimum, but I can reduce that to $5.00 a month, making the
 total $1,920.00 (32 years) plus labor $350.00 making the total due including
 tax $2,471.46. 
 For the Standish Lawder film from 1970 (over 40 years) the costs (also
 reduced rates) are similar coming to $2,400 plus $250.00 labor coming to
 $2673.50 tax included.
 
 Standish's reply was: That is outrageous, and for me utterly unacceptable. I 
 am not going to pay this for my 'Catfilm...' They can stuff it 
 you-know-where.
 I bet many filmmakers felt the same way.
 
 Six months later I was able to negotiate with Steve and retrieve the 
 materials for free, but many probably just got angry. So it's funny to hear 
 that three years later they actually got a $200,000 grant to try and give 
 these things away to the right people. I should have waited!
 
 -Pip
 
 
 
 
 At 2:49 -0400 23/08/14, Bill Seery wrote:
 http://www.nytimes.com/2014/08/24/movies/at-duart-thousands-of-unclaimed-films.html?_r=1
 
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[Frameworks] Standish Lawder Runaway

[Mark Toscano]

Hi all -

If you're interested, I've written something about my experience picking up
Standish Lawder's films in 2007, prompted by the arrival of the rest of his
film elements today from his daughter (and the discovery of one element in
particular).

http://preservationinsanity.blogspot.com/

Mark T
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Re: [Frameworks] films using the optical printer

[Mark Toscano]

Baillie's CASTRO STREET has no optical printing in it.  It's all in-camera
matting or A/B/C lab printing.

Also, it periodically needs to be said that Pat O'Neill's 7362 has NO
optical printing in it whatsoever.  It's all contact printing and
hand-processing.  A lot of people tend to talk about Pat's optical work,
then show 7362 as an example in both public screenings and classes (sorry
Jason!).  Pat's first foray into optical printing came approximately two
years later in his installation piece SCREEN (1969), and then with RUNS
GOOD, etc. after that.

That said, Pat is, as has already been said, an unparalleled artist in the
medium, and though optical printing was for him merely a technological tool
for achieving quite advanced aesthetic ideals, he is unsurpassed in his
artful and visionary use of the thing.  Probably the most convenient and
exemplary short film of his for explaining, demonstrating, or teaching
optical printing work is SAUGUS SERIES, which in some ways functions as
both a notebook of incredible visual ideas pretty much without precedent,
and an unintentional compendium of highly diverse suggestive uses for the
optical printer.  But you pretty much can't go wrong with ANYTHING Pat's
made.

Mark Toscano



On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski ste...@radonlake.com
wrote:

 Bruce Baillie's 'Castro Street' has some really beautiful optical printing
 work.

 --
 From: bigmuddy2...@hotmail.com
 Date: Wed, 6 Aug 2014 13:32:24 -0600
 To: frameworks@jonasmekasfilms.com

 Subject: Re: [Frameworks] films using the optical printer

 This is a great list! Barbara Hammer would be a good addition

 Sent from my iPhone

 On Aug 6, 2014, at 1:29 PM, Jason Halprin jihalp...@gmail.com wrote:

 Hi Carolyn,

 Below is the screening list from the last time I taught Optical Printing
 at Columbia College. I agree that Pat O'Neill is probably the greatest
 example of Optical Printing artistry, and include much of his work is
 available for purchase in DVD form. However, I would also stress that it
 was amazing to take the prints of his work and view them on rewinds with a
 light table so that students could really study how he created his looks.
 I love Water and Power too, and usually saved it until the last class in
 the semester.
 -Jason Halprin

 *DAILY SCHEDULE*



 *Class 01 – January 25th *

 Screening:   *Pas de deux* (Norman McLaren, 13 min, 1968)



 *Class 02- February 1st*
 Screening:   *Passage à l'acte* (Martin Arnold, 15 min., 1993)



 *Class 03- February 8th*
 Screening:   *Piece Touche *(Martin Arnold, 15 min., 1989)
 *Zocalo* (Richard Myers, 15 min, 1972)
 *Spitting Image* (Paula Froehle, 3 min., 1992)



 *Class 04- February 15th*
 Screeing: *7362* (Pat O’Neill, 10 min, 1967)
 *Roseblood* (Sharon Couzin, 7 min., 1974)



 *Class 05- February 22nd*

 Screening:   *Watersmith *(Will Hindle, 25 min, 1969)

 *Film Wipe Film* (Paul Glabicki, 32 min, 1984)



 *Class 06 *

 Screening:   *Wild Gunman* (Craig Baldwin, 20 min, 1978)
 *Television Assassination* (Bruce Conner, 14 min,
 1964/95)
 *Cosmic Ray* (Bruce Conner, 4 min, 1961)



 *Class 07- March 8th*
 Screening:   *Alone, Life Wastes Andy Hardy* (Martin Arnold, 15 min,
 1998)
 *Flicker: Unsteady Motion* (Paula Frohele, 7 min,
 1995)





 *Class 08- March 15th*
 Screening:   *Frame* (Ken Kobland, 10 min, 1976)
 *Vestibule* (Ken Kobland, 24 min, 1979)



 *Class 09- March 29th*
 Screening:   *Chinese Fire Drill* (Will Hindle, 25 min, 1968)
 *Runs Good* (Pat O’Neill, 15 min, 1970)





 *Class 10- April 5th*
 Screening:   *Elasticity* (Chick Strand, 25 min, 1976)
 *Babobilicons* (Dana Krummins, 18 min, 1982)



 *Class 11- April 12th*
 Screening:   *Nocturne (*Phil Solomon, 10 min, 1980)
 *Remains to be Seen* (Phil Solomon, 17 min, 1989)


 *Class 12- April 19th*

 Screening:   *The Idea* (Bill Knowland, 20 min, 1990)



 *Class 13- April 26th *

 Screening:   *Milk and Honey* (Kate McCabe, 17 min, 2004)

 *Montessori Sword Fight *(Mary Beth Reed, 7 min,
 2002)



 *Class 14- May 3rd*

 Screening:   *Water and Power* (Pat O’Neill, 54 min, 1989)


 Jason Halprin
 jihalp...@gmail.com


 On Wed, Aug 6, 2014 at 12:10 PM, Gene Youngblood ato...@comcast.net
 wrote:

   I join Marcos and Adam in stressing the importance of Pat O’Neill here.
 Optical printing doesn’t get any better if by that term we mean an art
 form, an aesthetic practice, not a technique.  Another artist from Pat’s
 generation known for his optical printing is Will Hindle

  *From:* Adam Hyman a...@lafilmforum.org
 *Sent:* Wednesday, August 06, 2014 10:57 AM
 *To:* Experimental Film Discussion List

Re: [Frameworks] Fibonacci Sequence

[Mark Toscano]

Roberta Friedman and Grahame Weinbren's excellent FUTURE PERFECT from 1978 uses 
a Fibonacci series (among others) as a basis for some precisely placed 
graphical forms marked onto (and conceptually relating to) the film's 
underlying photography.

Mark Toscano


 On Aug 5, 2014, at 2:26 PM, c b bigmuddy2...@hotmail.com wrote:
 
 Greetings Frameworkers,
 
 I'm looking for experimental films that engage with the Fibonacci sequence - 
 suggestions?
 
 Thanks!
 
 Cade
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Re: [Frameworks] seeking Morgan Fisher contact

[Mark Toscano]

Hi Andy,

I've actually just preserved the film.  I can put you in touch with Morgan 
unless someone already has.

Mark T


 On Jul 30, 2014, at 9:24 AM, Andy Ditzler a...@andyditzler.com wrote:
 
 Hello, 
 
 I am trying to screen Morgan Fisher's Projection Instructions and 
 understand that it's only available directly from him. Could anyone share 
 contact info with me? 
 
 Thanks,
 
 Andy Ditzler
 
 
 -- 
 
 Andy Ditzler
 www.filmlove.org
 www.johnq.org
 Graduate Institute of the Liberal Arts, Emory University
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Re: [Frameworks] Infrared Film in Experimental Cinema

[Mark Toscano]

Donald Fox's OMEGA and YOUNG GOODMAN BROWN both use color reversal infrared 
film.

Mark T


 On May 1, 2014, at 8:18 AM, Ruth Hayes randomr...@comcast.net wrote:
 
 I seem to remember that Betzy Bromberg used infrared film stock in one of the 
 films she showed us when I was in grad school…
 
 http://www.randommotion.com
 blogs.evergreen.edu/hayesr
 
 On May 1, 2014, at 8:06 AM, Heath Iverson wrote:
 
 Hi Frameworkers,
 
 I've been trying to think of films made using infrared sensitive film stock, 
 especially color stocks like Kodak's Aerochrome III. At the moment, the only 
 examples I can think of are Richard Mosse's The Enclave (2013) and a section 
 from Oliver Stone's Alexander. Surely there must be more?
 
 Best,
 Heath
 
 -- 
 Heath Iverson
 PhD Student, Film Studies
 University of St Andrews
 99 North Street
 St. Andrews, KY16 9AD
 Scotland, UK
 
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Re: [Frameworks] Optical Sound - filter

[Mark Toscano]

Jared and all - 

Most sound mixers will *not* take this into consideration, as making a 16mm 
optical track these days is fairly uncommon from the point of view of pretty 
much all professional sound folks.  It tends to be something that only the old 
school film sound mixers and archivally oriented sound folks will even think 
about.

What the sound house shooting your optical is referring to is the EQ'ing of 
your final sound in a manner that will help compensate for the loss of high and 
low end in your audio when it goes to optical.  (It's usually called Academy 
pre-emphasis, and the 'Academy' part refers to the Academy curve, which was a 
standard set in 1938 by the Academy of Motion Picture Arts and Sciences to help 
optimize sound for mono optical theatrical playback.)  You can EQ your track to 
emphasize the compromised high/low end, which will result in a better sounding 
optical.  Otherwise, the optical can sound a little squashed or muffled, though 
it depends on the nature of the sound content.  If your track is already lo-fi, 
and intended to sound lo-fi, I wouldn't worry about it.

This said, there's no standard formula for EQ'ing for optical compensation.  In 
restoration projects (and some of my own films), I create an optical-ready 
version with John Polito at Audio Mechanics, and he tailors it beautifully each 
time to the track and its quality/content.  And the tracks always sound 
excellent as a result.

All the best,

Mark Toscano



On Friday, April 25, 2014 1:27 PM, Roger Wilson rogerdwil...@sympatico.ca 
wrote:
 
 
Ok I'm not a sound guy but I think this is just an audio filter used to improve 
the signal to noise ratio. Did you have a final sound mix completed on the 
sound track for the film? I think your sound designer/final mixer would have 
taken this into account but you should check. I create my own sound designs for 
my films but then have a professional sound tech do the final sound mix and 
prep it for optical print. 

Hope this helps some!



Roger D. Wilson
Film Scientist
613 324 - 7504
rogerdwil...@sympatico.ca
http://www.rogerdwilson.ca


Without failure you can never achieve success. I have based my process and my 
career as an experimental film artist on this statement; and I welcome it as it 
pushes me forward as an artist to try something different, something new. 




From: jaredphutchin...@gmail.com
Date: Fri, 25 Apr 2014 14:46:44 -0500
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Optical Sound - filter


Thanks for the quick reply. It's 16mm.



On Fri, Apr 25, 2014 at 2:40 PM, Roger Wilson rogerdwil...@sympatico.ca wrote:

I have had a number of optical tracks created over the years and have never had 
the lab (Skylight Studios in Toronto) make this request. Is it a 16mm mono 
track or 35mm?



Roger D. Wilson
Film Scientist
613 324 - 7504
rogerdwil...@sympatico.ca
http://www.rogerdwilson.ca



Without failure you can never achieve success. I have based my process and my 
career as an experimental film artist on this statement; and I welcome it as 
it pushes me forward as an artist to try something different, something new. 




From: jaredphutchin...@gmail.com
Date: Fri, 25 Apr 2014 14:35:21 -0500
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] Optical Sound - filter



Hello, all,
I am almost ready to send out for an optical track for my first sync-sound 
print. 
I gave a call to the lab which photographs for optical tracks and I was told 
that my sound needed to be treated with an academy pre-emphasis filter. I was 
wondering if this (possibly expensive?) stage is necessary for my film sound. 
The soundtrack to my short is pretty primitive-sounding and not reliant on 
great fidelity.
Thanks!
Jared
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Re: [Frameworks] color print stock

[Mark Toscano]

Kodak technically makes only one 16mm color interneg stock to duplicate 
non-orange-base positives - 3273. It's more or less the same as 50D camera 
negative, and I've actually found it to be quite good at reproducing b/w and 
other monochromes mixed with color material.  May depend on the lab, but there 
are at least a couple I'd recommend who should do a really great job.

Alternatively, you could print your original through an orange base filter to 
3242 color intermediate, which would give you probably a bunch more saturation 
and contrast, but it would probably be too much and you'd lose some detail for 
sure.  But technically it's an option.  I'd go with the 3273 though.

Mark T



On Monday, January 20, 2014 9:28 AM, Katherine Bauer kittylitter...@gmail.com 
wrote:
 
Hi Frameworkers
What 16mm film stock would you recommend for making an internegative from a 
positive? 
The positive is black and white mostly, and high contrast black and white but 
because of solarization and chemical effects some parts have changed to a 
yellow color that I would like to preserve when making the internet. 
xoKitty 
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Re: [Frameworks] Found Soundtrack Films

[Mark Toscano]

I think what Albert's asking for are films that utilize a more or less intact 
found soundtrack, rather than a collaged soundtrack that includes found sound 
segments.

Lipsett, Pat O'Neill, and plenty of other artists have made some exciting use 
of collaged found elements, but I'd also love to hear some other examples of 
what Albert's looking for.

mark t

PS Maybe it's just delayed, but I didn't see my response come in to the 
listserv. I had thought of James Benning's UTOPIA, John Smith's LOST SOUND, and 
Chris Langdon's PICASSO. I think there's at least one Mark LaPore film that 
makes extensive use of a pre-existing soundtrack, but can't recall which one at 
the moment...

 On Nov 25, 2013, at 9:13 AM, William Wees, Dr. william.w...@mcgill.ca 
 wrote:
 
 Arthur Lipsett’s films are composed almost entirely of “found sound.”
  
 --Bill Wees
  
  
 From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
 Albert Alcoz
 Sent: November 24, 2013 3:56 PM
 To: frameworks@jonasmekasfilms.com
 Subject: [Frameworks] Found Soundtrack Films
  
  
 Hi,
  
 Institutional Quality by George Landow was created from a found soundtrack, 
 in this case a tape recorder about an instructional test.
  
 Does anyone know other examples that uses found soundtracks for experimental 
 films, especially from the sixties and seventies?
  
 Thanks,
  
 Albert
 http://www.visionaryfilm.net/
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Re: [Frameworks] Found Soundtrack Films

[Mark Toscano]

Tara's suggestion reminded me of a piece that Andrew Lampert has shown, I 
believe called Head/Tail, which is literally a found soundtrack - it's a 35mm 
track negative for a porno trailer, projected in Cinemascope so you get an 
empty frame with a salacious narration.

mark t

 On Nov 25, 2013, at 10:59 AM, Mark Toscano fiddy...@yahoo.com wrote:
 
 I think what Albert's asking for are films that utilize a more or less intact 
 found soundtrack, rather than a collaged soundtrack that includes found sound 
 segments.
 
 Lipsett, Pat O'Neill, and plenty of other artists have made some exciting use 
 of collaged found elements, but I'd also love to hear some other examples of 
 what Albert's looking for.
 
 mark t
 
 PS Maybe it's just delayed, but I didn't see my response come in to the 
 listserv. I had thought of James Benning's UTOPIA, John Smith's LOST SOUND, 
 and Chris Langdon's PICASSO. I think there's at least one Mark LaPore film 
 that makes extensive use of a pre-existing soundtrack, but can't recall which 
 one at the moment...
 
 On Nov 25, 2013, at 9:13 AM, William Wees, Dr. william.w...@mcgill.ca 
 wrote:
 
 Arthur Lipsett’s films are composed almost entirely of “found sound.”
  
 --Bill Wees
  
  
 From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf 
 Of Albert Alcoz
 Sent: November 24, 2013 3:56 PM
 To: frameworks@jonasmekasfilms.com
 Subject: [Frameworks] Found Soundtrack Films
  
  
 Hi,
  
 Institutional Quality by George Landow was created from a found soundtrack, 
 in this case a tape recorder about an instructional test.
  
 Does anyone know other examples that uses found soundtracks for experimental 
 films, especially from the sixties and seventies?
  
 Thanks,
  
 Albert
 http://www.visionaryfilm.net/
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[Frameworks] Alpha Cine closing entirely

[Mark Toscano]

Hi all - 

I believe word came through here not too long ago that Alpha Cine was ceasing 
their film lab services, but I just found out that they're apparently closing 
entirely.  The date I have is November 1, this Friday.  

If you have elements housed there, I would definitely contact them now to make 
arrangements for their retrieval.

Also, if you're interested, it's possible they may be selling some equipment, 
so it could be worth it to ask.

all the best,

Mark Toscano
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Re: [Frameworks] found footage: working with the (complete) oevre of another filmmaker

[Mark Toscano]

Andrew Lampert's BENETTON series of films may qualify.

Mark

On Aug 30, 2013, at 12:27 PM, David Sherman davidgatessher...@gmail.com wrote:

 My film To Re-edit the World is made almost exclusively of the found 
 remaining films  and fragments of lost  San Francisco  Beat filmmaker Dion 
 Vigne. You can find the description on my website listed below. Let me know 
 if it may be of interest to your research.
 
 Best,
 David
 
 
 On Fri, Aug 30, 2013 at 7:59 AM, Fred Truniger fred.truni...@gmail.com 
 wrote:
 Dear Frameworkers
 I am looking for found footage films that deal (almost) excusively with the 
 oevre of one filmmaker and re-interpret or re-read the contents and motifs 
 of these films. the model for the query would be the Phoenix Tapes by 
 Girardet/Müller. Are there any films you can recommend?
 Thank you!
 Fred
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 -- 
 David Sherman
 646 E. 5th Street
 Tucson, AZ 8705
  520-366-1573
 www.explodedviewgallery.org
 www.davidshermanfilms.com
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[Frameworks] restoration of CUBE AND ROOM DRAWINGS by David Haxton

[Mark Toscano]

Hi all - 

I've posted a new entry on my Preservation Insanity blog about the restoration 
of David Haxton's 1977 film CUBE AND ROOM DRAWINGS:

http://preservationinsanity.blogspot.com/2013/08/cube-and-room-drawings.html 


I particularly wanted to share it here because it was a post on Frameworks a 
year or two ago that reminded me of David's work and how interesting it had 
seemed to me in my previously limited experience of it.  It inspired me to get 
in touch with him, and he subsequently deposited the surviving materials for 
his work at the archive.  Sadly, almost all of his film originals are lost, so 
it ended up being quite timely, and I'm happy to say I've been through 
everything and have begun some preservation/restoration work, starting with the 
film described at the link above.

all the best,

Mark Toscano
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[Frameworks] Jud Yalkut RIP

[Mark Toscano]

Posting this here as I hadn't seen it reported yet...

http://www.wyso.org/post/local-artist-jud-yalkut-dies 


Mark Toscano
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Re: [Frameworks] Tri X

[Mark Toscano]

Yep!

Mark


On Jan 18, 2013, at 1:11 AM, Shumona Goel shumonag...@gmail.com wrote:

 Dear Mark,
 
 Is Cinema Arts in Pennsylvania?
 
 
 
 On Thu, Jan 17, 2013 at 10:19 PM, Mark Toscano fiddy...@yahoo.com wrote:
 Yep! A number of labs do it, customarily using b/w dupe neg stock 3234.
 
 Colorlab and Cinema Arts in particular have a reputation for getting very 
 nice looking prints from dupe negs off of b/w reversal originals, and I can 
 vouch for that.  Cinema Arts did some beautiful dupe negs/prints on three of 
 Chick Strand's gorgeous b/w films and Colorlab did an excellent dupe 
 neg/prints of Richard Myers' film Akran for us, among others.
 
 Mark
 
 On Jan 17, 2013, at 12:54 AM, Shumona Goel shumonag...@gmail.com wrote:
 
  Does anyone know whether it is still possible to make an inter negative 
  from TRI x reversal?  is the duplicating stock still being produced?
 
  Thanks,
  Shumona
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Re: [Frameworks] Films composed to music

[Mark Toscano]

Grateful Dead (Robert Nelson) - Nelson made a tape collage from the Dead's first album (given to him on 1/4" by them) that ran about 8 minutes, then cut his film very tightly to that tape piece. When their second album came out, the Dead asked Bob to make a new soundtrack for the film, using the new album instead. Although he did it out of friendship for them, he wasn't happy with it, as the cutting the image to the sound had been a really important concept for him in making the film.“...” Reel Five (Stan Brakhage) - Cut to a pre-existing James Tenney piece ("Flocking"). I suppose Christ Mass Sex Dance could also possibly qualify, but I don't know for sure that Stan cut that film TO the Tenney piece ("Blue Suede"), or if he just thought the soundtrack and image worked together.21-87 (Arthur Lipsett) - composed to Lipsett’s own
pre-made sound collage. I think at least one other Lipsett film was made this way - maybe Free Fall?



John Whitney’s oil-wipe films are abstract films created “live”
to various recordings. Drawing in a pan
of oil with a stylus (this filmed from below on b/w stock) John would improvise abstractions in
real-time, playing along to a particular recording. Several films were made this way, including
Hot House, Celery Stalks at Midnight, Mozart Rondo, Mahzel, 3rd Man Theme,
Egyptian Fantasy, and several others, all made between about 1948-1953, some of
them extending later into the ‘50s as John attempted to create color versions
that he hoped would have wider distribution.Mark TFrom: Herb
 Shellenberger he...@ihphilly.org To: Experimental Film Discussion List frameworks@jonasmekasfilms.com  Sent: Wednesday, January 9, 2013 1:32 PM Subject: [Frameworks] Films composed to music   



 
 

 

 

 

 

 

 

 

 

 









Hello Frameworkers. There have been a few really great looking-for-this-type-of-film
threads recently, so I thought I would throw my query out there. 

  

A colleague and I were discussing experimental films that
were composed to music. In general we think of film scores being added after
the fact, but there are few films that I can think of that are composed
specifically to fit a piece of music: 

  

  

Studies for the Decay of the West (dir. Klaus
Wyborny) 

In
Wyborny's "musical film," every new sound triggers a new image: 6,299
shots, all directly edited within his Super-8 camera. An intoxicating, stroboscopic trip to
industrial, natural and urban landscapes in East Africa, New
 York , the Ruhr region and Rimini .
This experimental music film refers to Oswald Spengler’s world-famous
1918 philosophical workThe Decay of the West. Culture pessimist
Spengler argues that progress is an illusion and that the modern era brings
little good. People are no longer able to understand the rationality of the
world. Wyborny does not set out to make a film version of Spengler's theories,
but rather a visual reflection on the modern age; a stroboscopic journey in
five parts to industrial, natural and urban landscapes. He uses 6,299 shots,
edited directly in a Super-8 camera. Each piano note and violin vibrato evokes
a new image: demolished buildings, rubble, destruction and nature. This
film forms a counterpart to Wyborny’s previous films seriesEine
andere Welt. Lieder der Erde II(2004/2005). [Film Society of
 Lincoln
 Center ] 

  

  

Passage Through: A Ritual (dir. Stan Brakahge) 

When I received the tape of Philip Corner's “Through
the Mysterious Barricade, Lumen 1 (after F. Couperin),” he included a
note that thanked me for my film, “The Riddle of Lumen,” he'd just
seen and which had in some way inspired this music. I, in turn, was so moved by
the tape he sent I immediately asked his permission to "set it to
film." It required the most exacting editing process ever;
and in the course of that work it occurred to me that I'd originally made
“The Riddle of Lumen” hoping someone would make an
"answering" film and entertain my visual riddle in the manner of the
riddling poets of yore. I
most expected Hollis Frampton (because of Zorn's “Lemma”) to pick
up the challenge; but he never did. In some sense I think composer Corner has -
and now we have this dance of riddles as music and film combine to make
"passage," in every sense of the word, further possible. (To be
absolutely "true to" the ritual of this passage, the two reels of the
film should be shown on one projector, taking the normal amount of time,
without rewinding reel #1 or showing the finish and start leaders of either -
especially without changing the sound dials - between reels.) [Stan Brakhage,
via CFMDC] 

  

  

These are both films that use film to “play”
music in a sense, or use music to generate images or structures. While some
filmmakers may have used music in this way in a portion of a larger film, I’m
more interested in films that exclusively use this method, whether it is with
one complete piece or a few. Also, I’m trying to focus on films that integrate
music more deeply than just cutting on 

Re: [Frameworks] ektachrome 100d r.i.p.

[Mark Toscano]

I did. This is what the Kodak rep told me. If I hear anything further, I can 
post it here.

Mark Toscano



On Dec 13, 2012, at 11:38 AM, carli...@aol.com wrote:

 I find it hard to believe that they will make more, unless there's a few 
 frozen rolls around somewhere. Who said this?
 
 BTW, who's going to the Jonas Mekas Birthday Party at Anthology?
 
 
 It is confirmed, as you all know by now, that Kodak has discontinued 
 Ektachrome. According to Beverly, our rep in L.A., the existing supply is 
 already sold out, but more orders will continue to be taken. Anybody trying 
 to order it now will be told the stock is on backorder, and in January 
 they'll produce more to fulfill all of those orders. This is in part an 
 attempt to be fair and prevent a few individuals from snapping up all the 
 remaining supply and hoarding or reselling it at exorbitant rates. But I 
 would order NOW if I were you. 
  
 
 
 carli...@aol.com
 
 
 -Original Message-
 From: zach vonjoo zu...@yahoo.com
 To: frameworks frameworks@jonasmekasfilms.com
 Sent: Thu, Dec 13, 2012 8:59 am
 Subject: Re: [Frameworks] ektachrome 100d r.i.p.
 
 It is indeed very distressing that there will be no more reversal color film 
 in the world.  I wonder what it would take to manufacture a new stock 
 independently, alla Impossible Project.  Any ideas?
 
 Wondering, does all ektachrome use the E-6 process?  Curious about using old 
 expired film.  I don't usually chance this, as I have had poor results in the 
 past, but seeing as how stock is going to be limited...
 
 From a friend-of-a-friend in the know: 
 
 It is confirmed, as you all know by now, that Kodak has discontinued 
 Ektachrome. According to Beverly, our rep in L.A., the existing supply is 
 already sold out, but more orders will continue to be taken. Anybody trying 
 to order it now will be told the stock is on backorder, and in January 
 they'll produce more to fulfill all of those orders. This is in part an 
 attempt to be fair and prevent a few individuals from snapping up all the 
 remaining supply and hoarding or reselling it at exorbitant rates. But I 
 would order NOW if I were you. 
   
 Time to finish up those projects.
 
 Best,
 Zach
   
 
 
 
 --- On Wed, 12/12/12, frameworks-requ...@jonasmekasfilms.com 
 frameworks-requ...@jonasmekasfilms.com wrote:
 
 From: frameworks-requ...@jonasmekasfilms.com 
 frameworks-requ...@jonasmekasfilms.com
 Subject: FrameWorks Digest, Vol 31, Issue 12
 To: frameworks@jonasmekasfilms.com
 Date: Wednesday, December 12, 2012, 10:01 AM
 
 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: Call for Submissions: Black Box @ Edinburgh International
   Film Festival (Walter Ungerer)
2. Re: flickering (John Woods)
3. Torture Project (jaime cleeland)
4. Error message (Walter Ungerer)
5. ektachrome 100d r.i.p. (Paul Krimmer)
6. Re: flickering (Jason Halprin)
7. Re: flickering (Scott Dorsey)
 
 
 --
 
 Message: 1
 Date: Tue, 11 Dec 2012 14:48:56 -0500
 From: Walter Ungerer w...@roadrunner.com
 Subject: Re: [Frameworks] Call for Submissions: Black Box @ Edinburgh
 International Film Festival
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Message-ID: 50c78e28.6080...@roadrunner.com
 Content-Type: text/plain; charset=utf-8
 
 Kim,
 
 Could I get a fee waiver from you for the EIFF?
 
 Take care,
 Walter Ungerer
 
 On 08December/2012 9:13 AM, Kim Knowles wrote:
  Dear Frameworkers,
 
  *CALL FOR SUBMISSIONS:*
  *67th EDINBURGH INTERNATIONAL FILM FESTIVAL JUNE 19 - 30 2013*
  BLACK BOX (EXPERIMENTAL SECTION)
  DEADLINE: MONDAY FEBRUARY 18
 
  EIFF is currently seeking submissions for its experimental section 
  *BLACK BOX*. Short and medium-length works on any format. As always, 
  Black Box supports and encourages works on film - we have a 
  super-dedicated team of projectionists and excellent 16mm and 35mm 
  facilities. We also do our best to cater for screenings requiring 
  multiple projectors.
 
  2013 also sees the introduction of BLACK BOX LIVE, an evening of 
  expanded performance.
 
  Fee waivers apply for FrameworkS subscribers so if you'd like to 
  submit a film or propose a project please contact me directly at 
  kim.know...@edfilmfest.org.uk.
 
  Looking forward to receiving your new works.
 
  Kim Knowles
  Experimental Film Programmer
  Edinburgh International Film Festival

Re: [Frameworks] Third Reich and Roll by the Residents

[Mark Toscano]

hey Josh,

As far as I know, Canyon is the only legit 16mm distributor for the 
Ralph/Residents films right now in the U.S., so unless you wanna just show it 
from a bootleg DVD, or official one (?) or something, and show it that way, 
you're outta luck. 

Mark




 From: jb.mabe jb.m...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Wednesday, December 5, 2012 2:34 PM
Subject: [Frameworks] Third Reich and Roll by the Residents
 
Hi folks!

Anyone know where to get Third Reich and Roll by the Residents on 16mm
other than PFA and Canyon?

Just exploring my options and trying keep down costs...

Best,
JB Mabe
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[Frameworks] News from Canyon Cinema

[Mark Toscano]

This message was sent out to Canyon's filmmaker members today, and we'd like to 
share it with the Frameworks community:


To the Canyon Cinema Inc. Filmmaker members:

We would like to thank all of you that responded to our recent request to vote. 
With a resounding approval, the membership voted by more than the 1/3 needed 
with 105 votes in support of dissolving Canyon Cinema Inc. and having the 
Canyon Cinema Foundation, a nonprofit in the state of CA, absorb its assets. 
There was only one vote that disapproved of this conversion.  This will now 
enable Canyon to apply for the IRS Federal non-profit exempt status under 501 
(c) 3. We will be filing the IRS 1023 form before the end of the year and will 
keep you updated.

Please check the main page of our website for updates:  
http://www.canyoncinema.com

We will also provide updates on our Facebook page and Twitter feed.

Thanks again for your continued support.

All the best from the staff and Board of Canyon Cinema,
Denah Johnston
Linda Scobie
Maïa Cybelle Carpenter
Nathaniel Dorsky
Dana Plays
Mark Toscano
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Re: [Frameworks] Warren Sonbert - retrospective tour available

[Mark Toscano]

Hi Scott,I appreciate that if it's the case, but I had yet to see it myself. The Gartenberg/Light Cone press release, the program notes at earlymonthlysegments.org, none of these mentioned it, which is what I was going on. I see that they're now at earlymonthlysegments, which I really appreciate.I figured anyone doing the tour wouldn't know about the Academy's connection, since it isn't mentioned anywhere in the tour promo material. For this, I totally don't blame the folks actually showing the films in their respective venues.MarkFrom: Scott Miller Berry sc...@imagesfestival.com To: Mark Toscano fiddy...@yahoo.com; Experimental Film Discussion List frameworks@jonasmekasfilms.com  Sent: Monday, October 29, 2012 4:01 PM Subject: Re: [Frameworks] Warren Sonbert -
 retrospective tour available   
Hi Mark (and all)--Thanks for your note and for flagging the Academy's amazing work,it is indeed mentioned in our promo materials: press release, website and all materialsrelated to our screenings here in Toronto.All best,Scott
--Scott Miller Berry, Executive DirectorTHE IMAGES FESTIVAL448-401 Richmond Street WestToronto, Ontario M5V 3A8 CANADA+1 (416) 971 8405 telephone+1 (416) 971 7412 facsimile

On 2012-10-29, at 6:48 PM, Mark Toscano wrote:Though it's great these films are showing again, it's too bad that it's mentioned nowhere that the extensive preservation/restoration work done to make them available was performed by the Academy Film Archive in Los Angeles.I didn't work on them myself - this project pre-dated my time at the archive
 by a bit. But my colleagues here did a huge amount of work on these films, and I'd like to ask anyone who's showing these prints to consider thanking the
 Academy Film Archive in their own promotional materials, if they're so inclined.Mark ToscanoFrom: "sc...@imagesfestival.com" sc...@imagesfestival.com To: frameworks@jonasmekasfilms.com  Sent: Sunday, October 28, 2012 6:26 PM Subject: Re: [Frameworks] Warren Sonbert - retrospective tour available   
Hi Frameworks,Scott at the Images Festival in Toronto writing to let you know about a very special tour: the complete works of Warren Sonbert being undertaken by Light Cone in Paris.The monthly screening salon I work on here in Toronto with Kate MacKay and Chris Kennedy, "Early Monthly Segments", is kicking off the tour next month and we're doing some friendly outreach in the hopes that the films will circulate far and wide.Series organizer Jon Gartenberg (www.gartenbergmedia.com/about.html) is available to speak along with the films. He's an incredible fountain of knowledge as an archivist,distributor and programmer.Here is Light Cone's page where you can read about each of the 7 programs:http://lightcone.org/en/news-235-tournee-de-la-retrospective-warren-sonbert.htmlWarm
 regards,Scott--Scott
 Miller Berry, Executive DirectorTHE IMAGES FESTIVAL448-401 Richmond Street WestToronto, Ontario M5V 3A8 CANADA+1 (416) 971 8405 telephone+1 (416) 971 7412 facsimile___FrameWorks mailing listFrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks___
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Re: [Frameworks] Warren Sonbert - retrospective tour available

[Mark Toscano]

Hi Fred,

I agree with you about restoration titlecards.  In some cases, funding agencies 
require them as a condition of accepting that funding.  Some archives always 
have them as a matter of course, which often helps them to be identified with 
the great work they're doing when the print shows whoknowswhere, which I 
understand and respect in principle, but don't care for personally.  In the 
Academy's case, we only include restoration titles when the funder requires it, 
which is not all that frequent.  For instance, the batch of 9 Brakhage films 
I've been restoring with Film Foundation funding do have titlecards, per their 
requirement.  I consulted with Marilyn about the placement of the cards, and we 
agreed to compose them in very simple language, and put them at the beginning 
of each film, with a gap of five seconds between the titlecard and the start of 
the film.  Seemed like getting it over with at the beginning was a less 
intrusive place than the end to
 stick them.  

Mark




 From: Fred Camper f...@fredcamper.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Monday, October 29, 2012 6:53 PM
Subject: Re: [Frameworks] Warren Sonbert - retrospective tour available
 
The restored Sonbert films that I have seen end with an onscreen credit to
something like The Estate Project for Artists With Aids. I'm all in
favor of crediting everyone who helped, but these screen credits, which as
I recall appear immediately after the final image, are a deeply
disrespectful defacement to the work of a filmmaker who resolutely avoided
using any credits at all, including his own name. They bother me too on
another level: do we have to have all his films identified not by his name
or their titles, but by the disease that killed him?

If such titles have to appear on screen, there should be a respectful
interval of black leader, like ten seconds, before they appear, with
instructions to the projectionist as necessary to insure that they run.

Fred Camper
Chicago

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Re: [Frameworks] Warren Sonbert - retrospective tour available

[Mark Toscano]

Though it's great these films are showing again, it's too bad that it's 
mentioned nowhere that the extensive preservation/restoration work done to make 
them available was performed by the Academy Film Archive in Los Angeles.

I didn't work on them myself - this project pre-dated my time at the archive by 
a bit.  But my colleagues here did a huge amount of work on these films, and 
I'd like to ask anyone who's showing these prints to consider thanking the 
Academy Film Archive in their own promotional materials, if they're so inclined.

Mark Toscano





 From: sc...@imagesfestival.com sc...@imagesfestival.com
To: frameworks@jonasmekasfilms.com 
Sent: Sunday, October 28, 2012 6:26 PM
Subject: Re: [Frameworks] Warren Sonbert - retrospective tour available
 
Hi Frameworks,
Scott at the Images Festival in Toronto writing to let you know about a very 
special tour: 
the complete works of Warren Sonbert being undertaken by Light Cone in Paris.

The monthly screening salon I work on here in Toronto with Kate MacKay and 
Chris Kennedy, 
Early Monthly Segments, is kicking off the tour next month and we're doing 
some friendly 
outreach in the hopes that the films will circulate far and wide.

Series organizer Jon Gartenberg (www.gartenbergmedia.com/about.html) is 
available to 
speak along with the films. He's an incredible fountain of knowledge as an 
archivist,
distributor and programmer.

Here is Light Cone's page where you can read about each of the 7 programs:
http://lightcone.org/en/news-235-tournee-de-la-retrospective-warren-sonbert.html

Warm regards,
Scott




--
Scott Miller Berry, Executive Director
THE IMAGES FESTIVAL
448-401 Richmond Street West
Toronto, Ontario  M5V 3A8  CANADA
+1 (416) 971 8405 telephone
+1 (416) 971 7412 facsimile
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Re: [Frameworks] Rock Ross retired (title work)

[Mark Toscano]

I know of a guy in LA named Ron Gonzalez who still has his equipment and has 
been looking for titling work.  Can pass his info along if anyone needs it.

Mark Toscano




 From: 40 Frames i...@40frames.org
To: Frameworks frameworks@jonasmekasfilms.com 
Sent: Tuesday, October 2, 2012 8:35 PM
Subject: [Frameworks] Rock Ross retired (title work)
 



Apparently Rock Ross is retired from titling work. 

Anyone know affordable west coast title makers? 


Thanks,
Alain

-- 
40 FRAMES
Alain LeTourneau
Pam Minty

40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA

+1 503 231 6548
www.40frames.org
www.16mmdirectory.org
www.emptyquarterfilm.org


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[Frameworks] Deluxe Toronto

[Mark Toscano]

FYI - 

If anyone has elements sitting at Deluxe Labs in Toronto, now is the time to 
pick them up.  Deluxe Toronto has laid off almost everyone and is closing, and 
they are eager to return elements to their rightful owners.  

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[Frameworks] Important announcement from Canyon Cinema

[Mark Toscano]

http://canyoncinema.com/2012/07/30/important-announcement-from-the-board-of-directors/___
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Re: [Frameworks] Films/videos straddling high- and lowbrow divide

[Mark Toscano]

Chris Langdon's film work (1973-76) is crucial in this regard - it was a very 
concerted attempt on her part to bring aspects of supposedly lowbrow culture 
and humor into the supposedly highbrow form of art/film.  She even made 
grindhouse-style trailers (about 8-10 total) for some of her films, which 
themselves were only 3 minutes (and sometimes single takes) to begin with.

Mike Henderson is a painter and blues musician who also made about two dozen 
16mm films between 1969 and 1985.  His painting and music background strongly 
inform his approach to filmmaking, and his films range from humorous and 
anarchic performative works that sometimes touch on Black experience, nearly 
abstract works that play on audience perception of what they're seeing/hearing, 
and works that touch on the relationship between perception and meaning, which 
incorporate narration, story and character elements, and play with the 
structural conventions of cinema in a way that seems to me uniquely painterly.  
Films like The Rocking Chair Film, Pitchfork and the Devil, How to Beat a Dead 
Horse, and others...


Jessie Stead's work in general, with Poor Man's Puce Moment being a random but 
fairly representative example of how she works with notions of high/low.  
There's also a piece where she nails a cookie to the wall with tons of nails 
over the course of an hour, which for me evokes Thom Andersen's Melting (1965), 
another film that would be of interest, especially alongside Morgan Fisher's 
very interesting text on it.


Speaking of Morgan, his film ( ) may be appropriate, a collection of insert 
shots taken from mainly B-movies, arranged together, abstracted from their 
original contexts as narrative elements to free them as individual objects of 
intrinsic interest/beauty/etc.  His long note on this film is fascinating.

John Smith's Associations (1975) pits a highly academic text on linguistic 
theory against images that pun on the various words used in the text.

Pat O'Neill's work is rich with interminglings of this sort.

Dan McLaughlin's God is Dog Spelled Backwards (1963), though a whimsical and 
jokey movie, takes as its concept if you combine the world's greatest art with 
the world's greatest music, you should produce the world's greatest film.  
Probably significant as a historical reference point.  Easy to see online.

I liked Steve Reinke's Beaver Skull Magick (2010), which I saw at FLEX a couple 
of years ago.  I don't know much of his other work, but he's probably an artist 
worth looking at in this regard.

Wouldn't normally suggest my own stuff, but I have some work that speaks to 
this area too, as it's something I'm definitely interested.  (I feel dirty now.)

Mark Toscano





 From: Brent Coughenour coke...@aol.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Wednesday, July 11, 2012 9:49 AM
Subject: [Frameworks] Films/videos straddling high- and lowbrow divide
 
Hi there,
I'm interested in suggestions of films and videos that make an effort to occupy 
the dialectical gap between so-called lowbrow and highbrow culture; in 
particular, work that addresses both mainstream popular culture as well as more 
esoteric academic or artistic history. I'm not thinking so much of work that is 
situated firmly in one or the other camps and makes an allusion to the other, 
but rather work that makes a pretty concerted effort to split the difference. 
Cory Arcangel's  work would be a good contemporary example. I'm particularly 
interested in historical examples from the experimental film world and 
suggestions of specific pieces. Also, if there's writing on this topic floating 
around, lemme know!

THANKS, 
Brent
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[Frameworks] Discontinuation of Eastman 35/32mm sound recording stock

[Mark Toscano]

Hi all,

Just confirmed with Kodak today that they're discontinuing production of sound 
recording stock 3378 (for making track negatives) in 35/32mm.  They have enough 
stock left for about 1-1.5 years, based on past sales numbers.  35mm and 
regular 16mm gauges will remain available.

While this may sound somewhat esoteric, 35/32mm is what 16mm track negatives 
are often shot on, at least here in L.A., where there are still several good 
sound houses making new track negatives for 16mm.  I haven't yet confirmed with 
a couple of them, but did confirm so far that DJ Audio can't shoot regular 
16mm, only 35/32mm, and Pete at DJ thinks there may not be any sound house in 
L.A. that can shoot regular 16mm.  I'll check around with some of the other 
sound houses though.

Pete did say that Agfa makes a 35/32mm sound recording stock, which he's used 
and thought was perfectly good.  So bottom line, this isn't the loudest of 
alarms being sounded, but something worth noting, at least.

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[Frameworks] First request (Robert Russett's NEURON) up at Preservation Insanity

[Mark Toscano]

http://preservationinsanity.blogspot.com/2012/06/neuron-1972-by-robert-russett.html 


Enjoy!

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Re: [Frameworks] 1970s French short film

[Mark Toscano]

I want to thank whoever it was (sorry, I'm forgetting) who posted the link to 
David Haxton's website, even if it ended up not being the correct artist/film.  
I had seen a couple of David's films many years ago, and had remembered them 
fondly, but forgotten his name as well as the film titles.  Thanks to that post 
here the other day, I'm in touch with David and he's in the process of getting 
his films together to deposit at the Academy Film Archive (where I work) so I 
can evaluate them for preservation/restoration work.  This is particularly 
timely, since his originals were all lost by a lab ages ago and he had begun 
selling his remaining extant prints!

thanks again,

Mark Toscano




 From: Michael Lee maaron...@gmail.com
To: pe...@redrice.net; Experimental Film Discussion List 
frameworks@jonasmekasfilms.com 
Sent: Monday, May 14, 2012 2:15 PM
Subject: Re: [Frameworks] 1970s French short film
 

Ah yes!  Thank you.  That's it.  Funny how Paper Landscape and Man with 
Mirror were sort of conflated in my mind as one thing.

Mike


On Mon, May 14, 2012 at 1:33 PM, peter snowdon pe...@redrice.net wrote:

Hi Michael,
What you describe sounds very like Guy Sherwin's Paper Landscape:
http://www.youtube.com/watch?v=n6RZi_Nzyho
It's not a French film, tho this documentation was taken in Paris...
Peter
 
On Mon, May 14, 2012, at 12:08 PM, Michael Lee wrote:
Thanks, Gene.  Just watched Around Perception.  Wow!


On Mon, May 14, 2012 at 11:57 AM, Gene Youngblood ato...@comcast.net wrote:

Pierre Hebert combined live action and painting in some of his films, and he 
was kind of a trickster, but this sounds more sophisticated than what I 
remember of his work. You might check him out in any case. 
From: Michael Lee
Sent: Monday, May 14, 2012 11:36 AM
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] 1970s French short film
  Hi All,

I saw a clip on YouTube a year ago or more of a performance piece involving 
film and painting.  I believe the artist was French--I'm almost positive 
it was from the mid 1970s.  I could not find it.  Does the following 
scenario ring a bell?

On the screen a man is strolling in a rural landscape.  From what I recall, 
the action on screen is actually a film of that film.  The filmmaker is 
painting himself in or out using black or white paint against the screen 
(?).  It somehow ends with the living, breathing filmmaker busting through 
the paper screen on which his image is seen walking towards the original 
filmed image of himself.  A parlor trick, for sure, but pretty amazing!

Any leads would be greatly appreciated. 

Thanks,
Mike
 

 
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--
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917.547.1286
www.MichaelAaronLee.com

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'participatory democracy': we only need the adjective because there's 
something wrong with the noun. Nicolas Rey
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917.547.1286
www.MichaelAaronLee.com

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Re: [Frameworks] pre-Beatles sitar in experimental film

[Mark Toscano]

Yantra uses an edit of part of Henk Badings' Cain and Abel, an electronic piece.

Lapis uses an edit of Ravi Shankar's Raga Jogiya, from the Ragas and Talas 
album, which was released in 1964.  But I believe Owen is correct, the track 
wasn't added to the picture until after 1965.  But the Whitneys were definitely 
enthusiasts of Indian music pre-Beatles.

A film I had previously mentioned, Felix Venable's Les angeS Dorment, from 
1965, also uses what I'm pretty positive is a chunk of Rupak Tal, from the same 
Ravi Shankar album.  Must've been something about that album - was it one of 
his first that was widely available in the U.S.?

Mark Toscano




 From: Gene Youngblood ato...@comcast.net
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Monday, May 14, 2012 8:47 AM
Subject: Re: [Frameworks] pre-Beatles sitar in experimental film
 

James made Yantra in 1955 and Lapis in 1963. Yantra may not have sitar, I 
don’t remember. 
From: op 
Sent: Monday, May 14, 2012 8:16 AM
To: Experimental Film Discussion 
List 
Subject: Re: [Frameworks] pre-Beatles sitar in experimental 
film
  typo 
oops, 
i was thinking maybe Jordan Belson's films but i think neither the 
Whitney's nor Belson used sitar before the Beatles' Norwegian Wood 1965. 
owen
 

 
On May 12, 2012, at 1:32 PM, Beverly O'Neill wrote:

 
Check  out James and John Whitney's work. 
 
Beverly O'Neill

On May 12, 2012, at 8:30 AM, Ingo Petzke wrote:

I am  looking for films that use Asian music – particularly Indian sitar - on  
their original soundtrack. The earliest one I have come across so far seems  
to be METANOMEN by Scott Bartlett (1966) but I am pretty sure there must be  
earlier ones.  All help much  appreciated!!!
  
Ingo
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Re: [Frameworks] pre-Beatles sitar in experimental film

[Mark Toscano]

Yeah, A Chairy Tale is Ravi Shankar, totally predates that.

Also, James Whitney's LAPIS, which was released more or less in 1966 (but 
worked on for years up to that point), features a Ravi Shankar soundtrack 
(taken from an existing recording).

Felix Venable's Les angeS Dorment (1965) features a brief snippet of (I 
believe) also Ravi Shankar, in the midst of an otherwise jazz soundtrack 
containing Miles Davis, Dave Brubeck, and John Coltrane.

Mark Toscano




 From: Dennis Doros milefi...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Saturday, May 12, 2012 12:28 PM
Subject: Re: [Frameworks] pre-Beatles sitar in experimental film
 

Easy to come up if you IMDB for Ravi Shankar and his foreign work 
including http://www.youtube.com/watch?v=5XIiWOuDuxc, There's also Ivory's THE 
SWORD AND THE FLUTE and also from 1966, Conrad Rooks Chappaqua also employed 
Ravi Shankar. I'm sure there's others who used sitar, but his work immediately 
comes to mind.

Best regards,
Dennis Doros
Milestone Film  Video/Milliarium Zero
PO Box 128 / Harrington Park, NJ 07640
Phone: 201-767-3117 / Fax: 201-767-3035 / Email: milefi...@gmail.com
Visit our main website!  www.milestonefilms.com
Visit our other websites!  
www.comebackafrica.com  www.yougottomove.com  www.ontheboweryfilm.com  www.arayafilm.com  www.exilesfilm.com  www.wordisoutmovie.com  www.killerofsheep.com

Support Milestone Film on Facebook and Twitter!
See the website: Association of Moving Image Archivists and like them 
on Facebook

AMIA 2012 Conference, Seattle, WA, December 4-7!

On Sat, May 12, 2012 at 11:30 AM, Ingo Petzke i...@petzke.biz wrote:

I am looking for films
that use Asian music – particularly Indian sitar - on their original soundtrack.
The earliest one I have come across so far seems to be METANOMEN by Scott
Bartlett (1966) but I am pretty sure there must be earlier ones.  All help
much appreciated!!! 
Ingo
 
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Re: [Frameworks] Money Films

[Mark Toscano]

Murray and Max Talk About Money (Roberta Friedman  Grahame Weinbren, 1979) - a 
masterpiece, by the way (though no money shots, so to speak)
Money (Henry Hills)
Money (Rudy Burckhardt, 1968)
Possibilities of Activity, Part One: The Argument (Anthony Forma and Dennis 
Phillips, 1975) - another really great film
Money (Mike Henderson, 1970)
Money Does (Mike Henderson, 1982)
Budget Film (Standish Lawder, 1967)
For the Record (Carolyn Faber, 2001)
Corporate Accounting (Scott Stark, 1982)


Mark Toscano



 From: graeme hogg graemeh...@irational.org
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Tuesday, April 24, 2012 12:10 PM
Subject: [Frameworks] Money Films
 

Does anyone know of experimental and/or Artists films that deal with the 
concept/material/phonomena of money? Preferably physical coins and notes 
and certainly not always national state Mint tender but am open to 
approaches which look at credit and/or things like Bitcoin $tc.



-- 

http://www.bristol-channel.org/skomer

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Re: [Frameworks] (no subject)

[Mark Toscano]

Sorry, I think it's fixed now.  Jeez, first time for me...

Mark T




 From: Huckleberry Lain huckleberryl...@gmail.com
To: Mark Toscano fiddy...@yahoo.com 
Sent: Monday, April 2, 2012 8:10 PM
Subject: Re: [Frameworks] (no subject)
 

uh oh.  Someone's email got hacked.  do not click the link below


On Mon, Apr 2, 2012 at 8:03 PM, Mark Toscano fiddy...@yahoo.com wrote:

http://393b.com/data/02efpk.html 
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Re: [Frameworks] video to film printing

[Mark Toscano]

It's not generally the cheapest thing to get done, and I don't know if there 
are any super cut-rate vendors that provide this service, but Metropolis in NYC 
is a place I know a lot of filmmakers use for digital-to-16mm.

Colorlab (Maryland) can do it, but not sure what their prices are like for that 
specifically.  Cineric in NYC might also be able to.

And I don't know if it would be cheap enough to be worth it, but Synchro Film 
in Austria could also do it last I checked.  

Mark Toscano




 From: winston degiobbi winstondegiobbi...@hotmail.com
To: frameworks@jonasmekasfilms.com 
Sent: Friday, March 9, 2012 9:13 AM
Subject: [Frameworks] video to film printing
 

 
Hey. wondering if anyone knew of a lab that laser prints to 16mm film from 
video at a great price. I  have a 10 minute short film I would like to transfer 
and most of the labs charge about 2 grand for this service.

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[Frameworks] Ektachrome RIP????

[Mark Toscano]

You've gotta be kidding.

Thanks for this heads-up goes to Timoleon Wilkins:


http://www.democratandchronicle.com/article/20120301/BUSINESS/303010043 


Mark T
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Re: [Frameworks] Ektachrome RIP????

[Mark Toscano]

This seems to confirm it, sort of:
http://www.thephoblographer.com/2012/03/01/did-kodak-just-discontinue-all-their-slide-films/ 


Also, this:
http://www.bjp-online.com/british-journal-of-photography/news/2156493/kodak-discontinues-colour-reversal-films 


Can someone tell me what other 16mm color reversal stocks exist out there?  
Either cut down custom by various labs/suppliers, or produced as 16mm by 
rawstock companies?  Just want to know what my options are, if any.

Mark T




 From: 40 Frames i...@40frames.org
To: Mark Toscano fiddy...@yahoo.com; Experimental Film Discussion List 
frameworks@jonasmekasfilms.com 
Sent: Thursday, March 1, 2012 5:21 PM
Subject: Re: [Frameworks] Ektachrome RIP
 



Hm, it's not on the Feb 2012 discontinued list. 

Alain



On Thu, Mar 1, 2012 at 4:52 PM, Mark Toscano fiddy...@yahoo.com wrote:

You've gotta be kidding.


Thanks for this heads-up goes to Timoleon Wilkins:



http://www.democratandchronicle.com/article/20120301/BUSINESS/303010043 



Mark T


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-- 
40 FRAMES
Alain LeTourneau
Pam Minty

40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA

+1 503 231 6548
www.40frames.org
www.16mmdirectory.org
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Re: [Frameworks] more on the Academy

[Mark Toscano]

Quite a bit.  And to Canyon Cinema in past years.

Mark T




 From: marilyn brakhage v...@shaw.ca
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Wednesday, February 29, 2012 2:19 PM
Subject: Re: [Frameworks] more on the Academy
 
On the other hand, he has given some support to Bruce Baillie, I  
believe.


On 29-Feb-12, at 9:03 AM, Francisco Torres wrote:



 George Lucas was a big admirer of Arthur Lipsett since his days at  
 USC citing him as an influence  yet when he made millions in 1977 he  
 did not offer one penny to him. Lipsett died destitute some ten  
 years larter. That is Hollywood to you.
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Re: [Frameworks] Kuchar on the Oscars

[Mark Toscano]

Exactly.  I didn't have anything to do with it!  Which is all the better, as it 
suggests that his influence has indeed permeated enough to be on the radar of 
folks cutting together Oscars montages.

Mark




 From: Jason Halprin jihalp...@yahoo.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Monday, February 27, 2012 7:22 PM
Subject: Re: [Frameworks] Kuchar on the Oscars
 

This is how myths begin...


-JH



 From: Huckleberry Lain huckleberryl...@gmail.com
 

I just heard that was solely because of Mark Toscano.  So, cheers to Mark!  
Thanks for having the world remember such a wonderful man.



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Re: [Frameworks] Kuchar on the Oscars

[Mark Toscano]

Chuck Braverman did the Condensed Cream of Beatles thing, and was known for his 
rapid-fire montages of the '60s, at least a few of which appeared on the 
Smothers Brothers show.

I don't believe Chuck Workman ever cuts the memorial segment, though.  The one 
year I talked to the folks doing it (2004), it was two guys whose names I can't 
remember, but who weren't working with Chuck.

Chuck Workman frequently cuts montages for the Oscars, though.  But so do other 
folks, including Penelope Spheeris and Errol Morris, among others.

Mark




 From: Pip Chodorov framewo...@re-voir.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Monday, February 27, 2012 11:46 PM
Subject: Re: [Frameworks] Kuchar on the Oscars
 
I understood that Chuck Workman always cuts together the Oscar 
montage - and as he just made the feature-length Visionaries on the 
experimental filmmakers around Anthology, he does know them all. 
(Though I prefered his Condensed Cream of Beatles!)
-Pip



At 20:50 -0800 27/02/12, Mark Toscano wrote:
Exactly.  I didn't have anything to do with it!  Which is all the 
better, as it suggests that his influence has indeed permeated 
enough to be on the radar of folks cutting together Oscars montages.

Mark


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Re: [Frameworks] new post on Brakhage

[Mark Toscano]

Hi Chris,

Tortured Dust is hot spliced.  Stan rarely used tape.  One notable exception I 
came across was Blood's Tone, from the trilogy Bluewhite/Blood's Tone/Vein.  I 
imagine he did that one with that as a sort of experiment at a time when tape 
wasn't as commonly used (mid-'60s).  Some of the late films with minimal 
editing occasionally employ tape, as do some of the painted originals.  
Lovesong 4 has a few tape splices, but this is also because the original for 
Lovesong 4 is on polyester stock, which you can't cement splice.

Stan started using the 2 frames (or sometimes 1 frame) of black at every cut 
sometime in the late '60s, though not for every single film.  I know Deus Ex 
just has shot to shot splices, but can't remember about the other two 
Pittsburgh Trilogy films.  But by the early '70s, it became really common for 
him to do so, and eventually it was something he seems to have done nearly 
without exception.

I believe that method, though on one hand effectively hiding the splice itself, 
also created a different kind of edit/cut effect, which was akin to an eyeblink 
more than a hard cut.  Perhaps Fred or Marilyn can expand on this.  It does 
feel different, and I imagine with Stan's deep interest in the qualities and 
properties of human vision, this effect was probably quite important to the 
overall reception of the films.  

It's really unbelievable to see - in some of the films with absurdly heavy 
cutting - the black frames inserted at *every single splice* like that.   The 
photo I put up on the blog showing a bit of Tortured Dust pt 2 is pretty 
representative of its more heavily cut passages.  Lots of clusters of 1-4 
frames surrounded by two frames of black...

Mark



 From: Chris Kennedy ch...@signaltoground.com
To: frameworks@jonasmekasfilms.com 
Sent: Saturday, February 25, 2012 6:48 AM
Subject: [Frameworks]  new post on Brakhage
 
Hi Mark,
Is Tortured Dust spliced with tape or hot splicing?
And is Brakhage's signature method of using two frames of black leader a way
to hide the splice in a single-roll of hot-spliced original or just a way to
pop out the image on screen a bit more (or a little of both)?
Best,
Chris

On 2/25/12 9:14 AM, frameworks-requ...@jonasmekasfilms.com
frameworks-requ...@jonasmekasfilms.com wrote:

From: Mark Toscano

It's 
 fairly dorky, but in case anyone's curious, I posted something about Stan
 Brakhage and a little about his use of color negative stocks at my
 unpredictably updated blog:

http://preservationinsanity.blogspot.com

This
 post was specifically inspired by going through the original for his film Max
 (2002) the other day.

Comments most welcome.

thanks,

Mark T


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Re: [Frameworks] new post on Brakhage

[Mark Toscano]

I think Lenny Lipton even mentions the black frame method of hiding splices in 
Independent Filmmaking.  It was definitely not something limited to Brakhage.

Mark





 From: Myron Ort z...@sonic.net
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Saturday, February 25, 2012 10:38 AM
Subject: Re: [Frameworks] new post on Brakhage
 
(A-Roll editing of original with no workprint approach):
When you cannot hide a splice by covering with the next shot (being  
dense enough or distracting enough), it is possible to splice in 1 or  
2 frames of black leader. In fact it was  (is) even possible to  
splice what amounted to a patch of black leader  just over the the  
splice itself.
I edited an entire 8mm film using these black leader patches, and  
knew other filmmakers who were doing the same thing in the 60s.

(Any more than 2 frames and it draws another type of attention.)  
Sometimes two frames of black between shots, as some kind of tiny  
pause,  just looks better somehow, aside from the splice hiding.)

(with acetate based material, it helped to know that you could make  
back to back or emulsion to emulsion-side cement splices along with  
the usual technique, especially when constructing something with  
varied materials, A-wind, B-wind, etc.

Myron Ort




On Feb 25, 2012, at 6:48 AM, Chris Kennedy wrote:

 Hi Mark,
 Is Tortured Dust spliced with tape or hot splicing?
 And is Brakhage's signature method of using two frames of black  
 leader a way
 to hide the splice in a single-roll of hot-spliced original or just  
 a way to
 pop out the image on screen a bit more (or a little of both)?
 Best,
 Chris

 On 2/25/12 9:14 AM, frameworks-requ...@jonasmekasfilms.com
 frameworks-requ...@jonasmekasfilms.com wrote:

 From: Mark Toscano

 It's
 fairly dorky, but in case anyone's curious, I posted something  
 about Stan
 Brakhage and a little about his use of color negative stocks at my
 unpredictably updated blog:

 http://preservationinsanity.blogspot.com

 This
 post was specifically inspired by going through the original for  
 his film Max
 (2002) the other day.

 Comments most welcome.

 thanks,

 Mark T


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Re: [Frameworks] First person narrative (Shira Segal)

[Mark Toscano]

Georg by Stanton Kaye

Mark T






 From: jaime cleeland ethnom...@yahoo.co.uk
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Thursday, February 23, 2012 12:18 PM
Subject: Re: [Frameworks] First person narrative (Shira Segal)
 

The use of the camera  i.e puts forth the camera as
a primary means of expression for artists (S.Segal)  I was recently asking 
Jeffrey Paull (is he still on this listserv ?) about ... what I call 
'camera-dicking'  weilding the camera as a phallus... can anyone give me any 
pointers for reading ... as far as film go I was thinking of something like 
Michael Powers 'Peeping Tom'.



 From: Shira Segal sbse...@indiana.edu
To: frameworks@jonasmekasfilms.com 
Sent: Thursday, 23 February 2012, 18:40
Subject: Re: [Frameworks] First person narrative (Shira Segal)
 

Dear Gene and Frameworks,

Last semester I designed a First Person Cinema course in the Dept. of 
Communication and Culture at Indiana University that you might find helpful 
(syllabus attached as PDF). I am pleased as punch that my students continue to 
post on our corresponding class blog: http://firstpersoninternet.tumblr.com/

I am looking forward to hearing about further examples of first person cinema!

best,
Shira Segal

--
PhD Film and Media Studies
Dept. of Communication and Culture
Indiana University

Visiting Lecturer
Dept. of Radio, Television and Film
Northwestern
 University

www.shirasegal.com


 Colleagues,
 Can anyone think of narrative (or storytelling) films that use the
 first-person, present tense (subjective) mode of address, other than
 in interior monologues? It must be done through speech, so ?direct
 cinema? (a form of storytelling) doesn?t count. Examples, if there
 are any, can be from any tradition, commercial to experimental.


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Re: [Frameworks] Negative Cutter

[Mark Toscano]

Chris Weber in Burbank is pretty much the go-to person in L.A. for 16mm (she 
does 35mm too of course).  Her info can be found here:
http://www.manta.com/c/mm8l1bc/chris-weber-post-production 


She did a great job cutting a negative for Chick Strand's final film, and has 
cut negs for Morgan Fisher, Betzy Bromberg, and any number of other L.A. 
filmmakers.

Mark T




 From: Alex alex.mccar...@gmail.com
To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com 
Sent: Monday, February 6, 2012 1:33 PM
Subject: [Frameworks] Negative Cutter
 
Hey,

I'm looking to be recomended a good negative cutter.

Thanks a lot,
Alex
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Re: [Frameworks] Chick Strand

[Mark Toscano]

Mosori Monika is in English, so subtitles aren't necessary.

And yep, the place to get it is Canyon!  It's only available on 16mm at the 
moment.

Fantastic movie, a very underrated and underseen one by Chick.

Mark



 From: Beverly O'Neill bev...@earthlink.net
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Saturday, February 4, 2012 1:08 PM
Subject: Re: [Frameworks] Chick Strand
 

It's listed in the Canyon Cinema on-line catalog. 

Beverly O'Neill

On Feb 4, 2012, at 1:02 PM, Susana de Sousa Dias wrote:

Chick Strand 
Dear Frameworkers, 

I'm looking for a copy to rent of the film Mosori Monika by Chick Strand. It 
has to be subtitled in English.
Any ideas? 

Many thanks,
Susana de Sousa Dias





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[Frameworks] Robert Nelson

[Mark Toscano]

, always gave me (and others) great advice.  
 
So many filmmakers are
filmmakers in some way or other because of Bob (among them Peter Hutton, Fred
Worden, Chris Langdon, Curt McDowell, Mike Henderson, numerous others).  Peter 
once told me that when he saw Bob’s
films for the first time, his reaction was “wait, you can make movies like
that?”, and started making films himself.  David Wilson (of Museum of Jurassic 
Technology fame) was deeply inspired
by The Awful Backlash, and wasn’t the only one to have that reaction.  Bob 
named the classic film Near the Big
Chakra, with his gift for evocative titles.  Bob could also be burtally honest 
about someone’s work, because he felt
a friend was due that honesty and respect, even if it cost him a few
friendships.  Bob was the person I was
most nervous and yet most eager to show my own films, and his positive,
thoughtful reactions meant something immeasurable to me, as did the criticism
of one film of mine he thought was a stinker.
 
When an artist dies, the
inevitable retrospectives follow.  But
that’s OK.  Bob was happy to have his
work rediscovered, and thrilled that anybody still found it entertaining, funny,
enlightening, whatever.  I already miss
him deeply, but am excited that his films (and his spirit, a very palpable,
inextricable part of them) are, and will continue to be, very much with us.
 
If anyone would like to
send any thoughts, reminiscences, testimonials, etc. about Bob or his work to
me, I’d be happy to share them with his family and friends.

I'm posting this text up at my blog too, with some photos of Bob and images 
from his films:
http://preservationinsanity.blogspot.com/ 


All the best,

Mark Toscano
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Re: [Frameworks] Beth B Scott B films

[Mark Toscano]

Hi Andy - 

Anthology preserved one or more of them in the recent past, but not sure which 
ones.  I believe they might be starting their loans up again in the near 
future, I'd definitely check with them!

Mark




 From: Andy Ditzler a...@andyditzler.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Wednesday, January 4, 2012 6:49 AM
Subject: [Frameworks] Beth B  Scott B films
 

Hello, 

I'm trying to track down a distribution source for the 1970s/early 80s films of 
Beth B and Scott B, particularly Letters to Dad, G Man, and Black Box. Also, 
while I'm at it, John Lurie's Men in Orbit. Thanks for any leads! 

Andy Ditzler
Atlanta, GA
www.filmlove.org

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Re: [Frameworks] 16mm stills in LA - Bordwell method?

[Mark Toscano]

David Bordwell has a simple but very effective setup for making stills from 
prints with a 35mm camera, though I don't know its precise composition.  He's 
made an unreal amount of amazing looking stills over many many years, still 
doing it in 35mm last I knew.  Someone else on this list might know more about 
what kind of setup he has.

Or you could try emailing him for info:

bordw...@wisc.edu

Mark




 From: mariah garnett mariah.garn...@gmail.com
To: frameworks@jonasmekasfilms.com 
Sent: Tuesday, January 3, 2012 10:02 AM
Subject: [Frameworks] 16mm stills in LA
 

Hey guys
does anyone have any good solutions for making photographic prints off 16mm 
film? I talked to fotokep about it and it's kinda pricey. Any home-made 
solutions? like a loupe on the lens of a 35mm still camera type of thing? 
trying to avoid both optical printing and scanning digitally.

-- 


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Re: [Frameworks] I can´t sleep

[Mark Toscano]

INSOMNIA by Fred Worden
Different sizes of hole-punches in black leader.  I think Fred made this during 
insomnia-driven late nights, but not sure.  His scratch film BOULEVARD may also 
be relevant.  And perhaps EVERYDAY BAD DREAM.

999 BOY by Chris Langdon
10 minutes of 400-speed b/w footage driving in the desert at night, only 
headlights illuminating the landscape - the night merging with and emerging out 
of the grain field that makes up the film's dominant imagery.

VENICE PIER by Gary Beydler

HAULING TOTO BIG by Robert Nelson
Covers dream states, documented reality transformed as folklore, hypnosis, 
landscape wanderings, many other things...

Many by Lewis Klahr or Janie Geiser (like THE FOURTH WATCH)  Actually, Lewis's 
GOVINDA would be great.  Late night softporn, a found student film, and a super 
8 wedding.

THE DEATH OF THE GORILLA by Peter Mays
Shot off of late-night TV, multiple passes in-camera with different color 
filters.  Amazing stuff, you can see images at my blog, 
preservationinsanity.bogspot.com if you want

IN PROGRESS by JJ Murphy and Norman Bloom
Simple and beautiful landscape studies shot over months from a fixed camera 
view.

Much of Richard Myers' body of work is richly about dreams, sleep, searchings, 
wanderings... 

Perhaps NOCTURNE and WHAT'S OUT TONIGHT IS LOST by Phil Solomon

Mark T


 
 -Original Message-
 From: frameworks-boun...@jonasmekasfilms.com
 [mailto:frameworks-boun...@jonasmekasfilms.com]
 On Behalf Of Paul Krimmer
 Sent: Friday, November 04, 2011 9:36 AM
 To: Experimental Film Discussion List
 Subject: [Frameworks] I can´t sleep
 
 Hey. im programming my month's schedule called i can't
 sleep. Just 
 wanted to know some films which come to your mind about
 night, walkings, 
 silent ones and of course and best radical work. thanks for
 your 
 head-sharing.
 
 best,
    paul
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Re: [Frameworks] Perfs

[Mark Toscano]

Film Technology lab in Hollywood has a perforator, though I don't know if they 
provide this as a service generally.  I was planning to work on preserving 
Louis Hock's SILENT REVERSAL there, partly because the new 16mm prints need to 
be outfitted with 8mm perfs to be shown correctly.

http://www.filmtech.com/

Feel free to contact them and let them know I suggested you ask them!

Mark Toscano


--- On Fri, 10/21/11, Myron Ort z...@sonic.net wrote:

 From: Myron Ort z...@sonic.net
 Subject: Re: [Frameworks] Perfs
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Date: Friday, October 21, 2011, 6:30 PM
 It was just a shot in the dark. I see
 your points. Thanks.  I will go  
 back to plan A.
 
 It has to do with using various found footage (A
 wind)  in a montage  
 context involving double perf camera original B-wind. 
 It won't be  
 the first time I have had to make back to back and belly to
 belly  
 splices.
 I don't give a damn because there will also be painting on
 the back- 
 side in this zombie jamboree.
 
 Myron Ort
 
 
 On Oct 21, 2011, at 3:46 PM, Jeff Kreines wrote:
 
  Wouldn't it be easier to modify the device that
 requires double- 
  perf film -- assume it is an optical printer or
 projector -- to  
  accept single perf film?  Far less traumatic to
 the film.?
 
  It would be difficult to design a reperforator because
 film shrinks  
  at different rates, as does the size of the
 perforation.
 
 
  On Oct 21, 2011, at 4:53 PM, Myron Ort wrote:
 
  Anyone know of an accessible tool, machine, or
 service whereby I can
  add a set of perforations to 16mm
 single-perforated  prints , thus
  rendering them double-perforated ?
 
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[Frameworks] Filmcraft in Michigan closing

[Mark Toscano]

http://reelchicago.com/article/filmcraft-s-closing-astro-midwest-s-sole-lab

Pick up yer elements if you left 'em there!!

Mark Toscano


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[Frameworks] goodbye George

[Mark Toscano]

Well, somebody's gotta post it I guess.  The absolutely beautiful, 
irreplaceable treasure that is George Kuchar left us this morning.

all the best,

Mark T
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