Re: [Frameworks] Films or videos with one person playing all the parts

[Rob Gawthrop]

Portrait of Jason - Shirley Clarks
Film - Samual Becket

But then why have anyone ? There are too many talking  films in any case.

Rob

> On 23 Jun 2020, at 22:21, Joel Schlemowitz  wrote:
> 
> Hi all,
> 
> A question relating to students creating videos with limited access to other 
> people due to the COVID-19 situation. . . . Looking for examples of films or 
> videos with one person playing all the parts.
> 
> There are  video works by ASM Kobayashi and in Maya Deren in "Meshes of the 
> Afternoon" there are multiple versions of the protagonist created through 
> editing. But does anyone know of other interesting works where someone 
> playing all the parts has a dialogue with "themselves," so to speak?
> 
> Best,
> Joel
> 
> ~~
> https://www.joelschlemowitz.com 
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Re: [Frameworks] Luther Price RIP

[Rob Gawthrop]

In the late nineties I programmed regular screenings at the Hull Film Theatre 
(Yorkshire England) while teaching at the art school there. I showed a 
compilation of new American films (from the coop) including Sodom. This was a 
public event and the cinema was run by the city council and they were not 
asking to see uncertificated films since the debacle of banning Genet’s Chant 
d’Amour. Sodom came on last before the interval and the ice-cream seller was 
making her way in at the moment of the auto-fellatio (Busby Berkley style) was 
on the screen. I was a little worried that there would be complaints.  The 
ice-cream woman spoke to me and said “Oo I’ve not seen anything like that 
before”

It was all ok.

Rob

> On 20 Jun 2020, at 04:13, Esperanza Collado  
> wrote:
> 
> Where can we read your essay, Bernie?
> 
> El jue., 18 jun. 2020 a las 5:48, Bernard Roddy ( >) escribió:
> Hi everyone. I had only heard the name, and heart it often, then in 2016 saw 
> his work at the Chicago Underground. For three years, until August last year, 
> I worked on an essay that runs 20 pages and concerns only a single Price film.
> 
> Bernie
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> 
> 
> 
> -- 
> Esperanza Collado
> www.esperanzacollado.net 
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Re: [Frameworks] Independent research- looking for recommendations

[Rob Gawthrop]

With Jo Millett I programmed the following for a fund-raiserfor Freedom from 
Torture in Cornwall in 2014.


So Much I want to Say by Mona Hatoum

1983, 5 minutes

 10/65: Selbstverstümmelung Kurt Kren and Gunter Brus:  1964, 3 minutes

 Sine by Gillian Dyson  1997 5 minutes

 Under Seige by Mona Hatoum  5 mins

 Desert Storm  Grace Ndiritu 2004 5 mins

 Crying by Fiona Leus Lambert 1.5 mins

 Eyes Skinned by Mona Hatoum

1988  4 mins

 Faces from Hadamar by Fiona Leus Lambert 2.44 mins

Quarantine by Gina Czarnecki 40 mins



Rob

 




> On 24 Jan 2020, at 18:01, Madison Bounds  wrote:
> 
> Dear Frameworks,
> 
> I am working on an independent research project for a thesis project and 
> think the great community here might help me out. 
> 
> My project involves films that document/ involve the body. Along the lines of 
> Yoko Ono's work, Stan Brakhage’s “The Act of Seeing With One’s Own Eyes".
> 
> Does anyone have recommendations for similar films I can study?
> 
> Thank you,
> 
> Madison 
> 
> 
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Re: [Frameworks] Original soundtrack recordings of Avant-Garde films

[Rob Gawthrop]

Many of the sound from Jeff Keen’s films re on  JEFF KEEN: NOISE ART on Trunk 
Records (CD).

It would be good if Steve Reich’s track for Robert Nelson's  Oh Dem Watermelons 
and Brian Eno’s for  Malcolm LeGrice’s Berlin Horse was were available.  

I’d be interested to hear of suggestions for others that would stand on the’re 
own as CD or Vinyl recordings

Rob

PS Earthquake Orgy (Flaming Creatures) on the Tony Conrad / Jack Smith CD is 
great.


> On 4 Dec 2019, at 22:01, Adam Hyman  wrote:
> 
> Once upon a time there was a label called Table of the Elements. (Their 
> website is defunct)  They issued multiple CDs of works by Tony Conrad and 
> Jack Smith.  Mostly audio only things, but perhaps among them was a 
> soundtrack or two to a film of one or the other?…
> 
> Actually, it looks like probably not, but some interesting things
> 
> https://www.discogs.com/Jack-Smith-Les-Evening-Gowns-Damnees-56-Ludlow-Street-1962-1964-Volume-I/release/703373
>  
> 
> 
> https://www.discogs.com/Jack-Smith-Silent-Shadows-On-Cinemaroc-Island-56-Ludlow-Street-1962-1964-Volume-II/release/727518
>  
> 
> 
> https://www.discogs.com/Tony-Conrad-Early-Minimalism-Volume-One/master/382563 
> 
> 
> https://www.discogs.com/Tony-Conrad-Slapping-Pythagoras/release/680717 
> 
> 
> Etc
> 
> Best,
> 
> Adam
> 
> From: FrameWorks  > on behalf of Christian 
> Gosvig Olesen mailto:christian.gos...@gmail.com>>
> Reply-To: "Experimental Film Discussion List  >"  >
> Date: Wednesday, December 4, 2019 at 1:44 PM
> To: "Experimental Film Discussion List  >"  >
> Subject: Re: [Frameworks] Original soundtrack recordings of Avant-Garde films
> 
> Hello,
> 
> Many (of the amazing) soundtracks to Derek Jarman's films have been released 
> on various formats:
> 
> Throbbing Gristle "In the Shadow of the Sun": 
> https://www.discogs.com/Throbbing-Gristle-In-The-Shadow-Of-The-Sun/master/10294
>  
> 
> 
> Coil "The Angelic Conversation": 
> https://www.discogs.com/Coil-The-Angelic-Conversation/master/21410 
> 
> 
> Simon Fisher Turner/Derek Jarman "Blue": 
> https://www.discogs.com/Derek-Jarman-Blue/master/21552 
> 
> 
> Simon Fisher Turner "Caravaggio": 
> https://www.discogs.com/Simon-Fisher-Turner-Caravaggio-1610-Sound-Sketches-For-Michele-Of-The-Shadows/master/246163
>  
> 
>  (and several other Jarman/Turner soundtracks are released as well)
> 
> Sub Rosa released a boxset of Luc Ferrari's soundtrack works not so long ago 
> (among others for Piotr Kamler's "Chronopolis"): 
> https://www.subrosa.net/en/catalogue/early-electronic-music/luc-ferrari-complete-music-for-films-1960-1984.html
>  
> 
> 
> Peter Tscherkassky's "Outer Space" is featured on a Finnish compilation: 
> https://www.discogs.com/Various-Avantometric-Attachments-2002/release/75764 
> 
> 
> Angus MacLise's soundtrack to "The Invasion of Thunderbolt Pagoda": 
> https://www.discogs.com/Angus-MacLise-The-Invasion-Of-Thunderbolt-Pagoda/release/440194
>  
> 
> 
> And there is an Angus MacLise compilation featuring music from "Chumlum" 
> among others: https://www.discogs.com/Angus-MacLise-Untitled/release/311090 
> 
> 
> There was also a funny, unofficial archival release series of "Musique 
> Concrète Soundtracks to Experimental Short Films" some years back:
> 
> https://www.discogs.com/label/13172-New-England-Electric-Music-Company 
> 
> 
> Best, 
> 
> Christian
> 
> 
> Den ons. 4. dec. 2019 kl. 19.26 skrev Albert Alcoz  >:
>> Hello,
>> 
>> I'm researching soundtracks of Avant-Garde films that have been published on 
>> Vinyl, cassette or CD. It is not easy to find many cases because generally 
>> the soundtracks are not original. 
>> 
>> Does anyone 

Re: [Frameworks] multiple exposures on bolex

[Rob Gawthrop]

Hi Jimmy,

It could be that the ‘takes’ are not long enough for the spool to take-up the 
slack so that the loose film then accumulates … or there is something wrong 
with the take-up spool or drive of your camera.

Rob



> On 10 Oct 2019, at 14:17, jimmyschaus1 .  wrote:
> 
> Hi all,
> 
> Recently I've been experimenting with doing lots of exposures using the 
> rewind crank on the bolex, combined with pixelation.  Specifically, a few 
> "base layers" of pixelation, alternating exposed and black frames, then 
> rewinding and doing that again 3 more times.  Then rewinding again and fading 
> in on top of that more exposures, but just regular shooting, continuous 
> takes, usually just shooting the length of the full wind.  I think I did 
> around 4 or 5 full rewinds, and an additional 4 partial rewinds to reach 
> specific places in the roll.  
> 
> ...and after what I thought was finally getting all the film onto the take up 
> reel, I open the camera to find the dreaded film "spaghetti".  I'm going to 
> develop some of what I managed to salvage from getting too overexposed when I 
> opened the camera, but I don't have high hopes.  
> 
> Just wondering if anyone on here has experience experimenting with lots of 
> exposures on the bolex, and if you've been able to discern any sort of "upper 
> limit" before things just get too out of hand, if its feasible that such a 
> limit even exists (for who knows the exact cause of the malfunction, could 
> have nothing at all to do with all the rewinds).  I've shot many films with 
> double and triple exposures before with success, but I don't think I've ever 
> stressed the camera so hard as this past time, perhaps also due to all the 
> pixelation?  I want to try the experiment again but thought I'd seek some 
> wisdom out there before diving back in.  
> 
> thank you,
> an icarus too close to the sun,
> Jimmy
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Re: [Frameworks] Interviews on Digital Filmmaking and Impacts

[Rob Gawthrop]

Hi Tarik

I’m sure you know that there are a number of Turkish experimental filmmakers 
working, I saw some films at Alchemy this year : 
https://alchemyfilmandarts.org.uk/2019/out-from-turkey/ 
  Far better than 
referencing boring US feature films.

Best Wishes

Rob

> On 22 Aug 2019, at 10:49, Tarık Aktaş  wrote:
> 
> Hi Everyone,
> 
> I'm writing a piece for my class on the impacts of digital technology (of any 
> sort) and covered the basics already. (We will also have the documentary Side 
> by Side in our library to watch when the course starts.) I want to enrich the 
> text with some views of well-known and acclaimed directors, DOPS and editors. 
> I've been already checking magazines and websites for such interviews. The 
> students are in the second year so professionals like Inarritu, George Lucas, 
> Spielberg, Scorcese, Soderberg, Fincher, in brief the mainstream are more in 
> their interest. (Also professional that have worked with both film and 
> digital.) If you have encountered a source that involves such interviews I'll 
> be more than glad if you can also share it with me. A book, magazine or 
> anything that I can also reach online from Turkey will help.
> 
> Thank you in advance.
> 
> Best regards,
> Tarik
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Re: [Frameworks] academics and religion

[Rob Gawthrop]

“Thank you Jesus for the Eternal Present” Owen Land /  George Landow

religion, advertising and art!  

Rob

> On 16 May 2019, at 07:50, Shuhita Bhattacharjee  wrote:
> 
> Dear Bernie, 
> 
> Many, many thanks for these suggestions. They are incredibly useful. I am 
> working on a monograph on Postsecular Theory and I have a chapter that 
> studies the modern-day classroom and its interface with faith and 
> spirituality. In that context, I am looking at cinema of all kinds and 
> television that recreates a situation such as this. Thanks once again for the 
> very interesting leads.
> 
> Best,
> Shuhita.
> 
> On Wed, May 15, 2019 at 10:51 PM Bernard Roddy  > wrote:
> Hello, Shuhita:
> 
> Although it is not clear what kind of monograph this would be, we can imagine 
> it as an open question about "spirituality" in artists' practice. Two 
> associations come to mind: A practice like Phil Solomon's is, I think, 
> intensely spiritual . . to the point that one might become impatient with it. 
> Anything that is listening to chemistry or light, being buried and watched at 
> length strikes me as outside the academic agenda of technical and pragmatic 
> preparation for contributing to the competition. But before this kind of 
> durational and quasi-observational meditation on time came to mind, it 
> occurred to me that the personal film - by which I mean the video diary but 
> of a certain kind, by a certain sort of person - would initiate a discussion 
> into what it means to be an academic and yet to refuse a functionalist or 
> utilitarian outlook. What about Birgit Hein's film on Cuba? It's not as if 
> you will find an expressly religious testament to an experience that cannot 
> be codified or marketed, but the practice is itself a manifestation of an 
> outlook open to "the other," insisting on remaining without a guide, without 
> a roadmap, and thus at risk of what our pedagogue will warn us against, 
> precisely that.
> 
> Bernie
> 
> - - - -
> Dear Frameworkers,
> 
> I want to draw on your collective wisdom for my monograph. I am looking for 
> examples across world cinema and television that represent the academic 
> space, in particular the university classroom/campus in its overlap with 
> spirituality/religion. Most useful would be a scene with classroom 
> discussions on spirituality or faith,  but really anything in this zone
> would work great. Any suggestions at all would be wonderful!
> 
> Many thanks in advance.
> 
> Sincerely,
> Shuhita.
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> 
> 
> 
> -- 
> Shuhita Bhattacharjee, PhD (University of Iowa),
> Assistant Professor,
> Department of English,
> Presidency University,
> Kolkata, India.
> 
> Email: shuh...@gmail.com 
>   shuhi...@gmail.com 
>   shuhita@presiuniv.ac.in 
> 
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Re: [Frameworks] Cinestill DF 96 Monobath

[Rob Gawthrop]

Thanks Scott, really helpful, I will be using rewind/bucket.  Got some on order 
now!

Rob

> On 7 Mar 2019, at 19:52, Scott Dorsey  wrote:
> 
> I have not but I have used other monobaths before.  They are convenient,
> but allow no control over gamma or really any part of the characteristic
> curve.  Most of them are inherently very compensating because the development
> is limited by the fixation.  If you like that look, good.  Otherwise not so
> good.
> 
> The Air Force was very big on monobath processing for aerial film back in
> Vietnam, because temperature and time were not very critical and for people 
> developing film in tents in the middle of a grassy field it reduced the
> handling considerably and got film out to analysts faster.  Most of the 
> monobath technology we have today came out of the space program and the Air 
> Force.
> 
> If you're in an environment where you can't get even processing, and I can
> see a lot of folks hand-processing motion picture film by rewind or in
> a bucket having that problem, the monobath could be a big help.  On the 
> other hand, so could a divided developer like Diafine.
> --scott
> 
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[Frameworks] Cinestill DF 96 Monobath

[Rob Gawthrop]

Has anyone used Cinestill DF 96 Monobath? If so any comments or advice?

Thanks

Rob

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Re: [Frameworks] Tips on projecting S-8 for digital recording?

[Rob Gawthrop]

I concur with both pieces of advice, particularly having the projector as far 
back as possible and the camera further back from the projector.  I would add 
that high grade A3 print paper works well as a low-budget screen.

Rob

> On 27 Feb 2019, at 13:03, Christopher Ball  wrote:
> 
> I had no problem with light bleed from the projector, and the further 
> distance meant I could be more in line with the projected image, which helped 
> with key stoning but more importantly made the light image more even, and I 
> didn't have a centre hot sport with darker edges.  
> 
> Yes, I remember now, I did not use the screen (I was shooting this in my 
> theatre) I used a new piece of ROSCO 216 diffusion gel, which is even white 
> and no texture.  I had that mounted flat on my screen.  
> 
> I was not adjusting the camera speed, I was adjusting the shutter speed.  
> There are probably very few projectors that run at 24fps or 18fps even, so 
> matching the fps will be nearly impossible, however if you can adjust the 
> shutter speed you can eliminated the flicker (but you need extremely fine 
> shutter speed) adjustment to make it perfect).  I would run my film for about 
> 30 seconds to fine tune the shutter speed, then reverse the image, then run 
> it forward over the leader for one final check of the shutter speed before 
> the first image came up.  I was able to eliminate the flicker that way.
> 
> C
> 
> On Wed, Feb 27, 2019 at 12:56 AM Dave Tetzlaff  > wrote:
> I agree that off-the-wall DIY transfers can be quite good, though I’ve mainly 
> done 16mm, not S8.
> 
> The two main things are: 
> 
> 1. The camera has to be capable of running at the same frame rate as the 
> projector. (e.g. 24fps, for 16mm). You may or may not need the frame sync 
> feature in the camera that can fine tune the speed down to a fraction. 
> 
> 2. The projector must be capable of hoilding its speed steady. This is often 
> an issue with S* projectors, especially those with a mechanical variable 
> speed nob.
> 
> NOTE: for S8 especially, you aare unlikely to get the camera and projector to 
> sync up at the speed the film was shiot at (e.g. if its 18fps as most are, 
> not 24fps). As long as you can get sync at any speed (e.g. 24fps), you 
> transfer at that speed – in effect undercranking the video copy – and then 
> shift it back to the proper speed in FCP, AE, or whatever. The frame blending 
> usually isn’t noticable to most viewers, and no more a detrement than the old 
> school 24-into-30 of 5 blade telecines.
> 
> As far as physical setup:
> 
> > I then shot it onto a movie screen which has high reflectivity, and 
> > projected it so the image size was about 1 foot x 1 foot, to make a nice 
> > bright image.  
> 
> You do want a small bright image, but screem material designed for a larger 
> image isn’t necessarily the best projection surface. You want a matte white 
> surface with no visible texture. I just got a nice big white paper sheet at 
> an art store.
> 
> You should set things up in as close to complete darkness as possible. I used 
> to do it in my basement after blocking the little windows.
> 
> > I had the camera back away from the screen on a longer lens so it was as 
> > close to the projector angle as possible.
> 
> The problem with that is light bleed from the projector bouncing into the 
> camera lens. You want the fromt of the camera lens barrel in front of the 
> projector lens barrel. Putting the camera as close as possible to the right 
> side of the projector generally eliminates any objectionable keystoning. 
> Mounting the camera on a three-way still-photo head makes for easiest 
> adjustment of squaring things up. It’s hard to get viideo heads into the 
> right horizen plane.
> 
> 
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Re: [Frameworks] Expanded cinema and experimental music

[Rob Gawthrop]

Hi Esperanza

Artists and  academics/writers are not necessarily exclusive - thinking of 
myself, and Nicky Hamlyn in UK. The links with sound, noise, music & expanded 
cinema have all figured in aspects of both our teaching and writing.

Best Wishes

Rob

> On 20 Feb 2019, at 10:18, Esperanza Collado  
> wrote:
> 
> Dear all,
> 
> A colleague is considering organising a seminar on the subject of expanded 
> cinema and experimental music. He is trying to find academics, scholars, 
> writers and experts in the critical/historical field rather than artists to 
> deliver lectures or talks as part of this seminar. Could you please recommend 
> relevant names expert in this field who are not American (or are not based in 
> America) please?
> 
> I'm thinking of Steven Ball and (even though it may not be exactly their 
> field of research) François Bovier/Adeena Mey, but who else is there beyond 
> these? And if any of you think could fit here please let me know.
> 
> 
> Thank you.
> 
> -- 
> Esperanza Collado
> www.esperanzacollado.net 
> www.aaleve.grabacionesdecampo.com 
> 
> 
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Re: [Frameworks] Exposure compensation

[Rob Gawthrop]

Hi Pablo

I’ve always used 1/80th for 24fps (and adjusted accordingly for other fps) for 
an Arri ST it’s 1/48


Rob

> On 28 Jan 2019, at 12:22, Pablo Marin  wrote:
> 
> Hi all,
> 
> I'm about to shoot some 16mm film (color neg 50D) with a Bolex SB and was 
> wondering if I could borrow some of the good ole frameworker's wisdom to 
> figure out the compensation on my exposure levels.
> 
> I'm using a Minolta Spotmeter M and according to its manual, the cine 
> exposure for 24fps has to be measured with a shutter speed setting of 1/60th 
> and then open 1/3 of a stop. But then, this lightmeter is built to calculate 
> the readings for a camera with a 180° shutter.
> 
> Since the Bolex has a shutter of 130°, which compensation should I add on top 
> of the +1/3 suggested by the lightmeter?
> 
> Thanks a lot for your help and sorry for the rather dumb question.
> 
> Best to all and rest in peace, Jonas,
> Pablo Marín.
> Bs.As.
> 
> 
> 
> 
> On Monday, January 28, 2019 6:35 AM, Kerstin Schroedinger 
>  wrote:
> 
> 
> 
> 
> 
> 
> *
> 
> Dear friends, collaborators and colleagues,
> 
> We are very pleased to announce the release of
> Film in the Present Tense – Why can't we stop talking about analogue film?
> 
> as part of 
> Diffraktion #9
> the annual screening highlighting new works by LaborBerlin members and 
> friends on Saturday, 2nd of February 2019,
> 19h30 @ ACUD mach NEU Studio, Veteranenstraße 21
> 
> 
> 
> 
> Film in the Present Tense – Why can't we stop talking about analogue film?
> Edited by L.Greenfield, D. S. Phillips, K.Schroedinger, B.Speidel and P. 
> Widmann
> Designed by Anne Retsch
> English
> Softcover
> 156 pages
> ISBN 978-3-943620-81-8
> published by Archive Books
> order 
> 
> 
> 
> “Why can’t we stop talking about analogue film?” is the collective, implicit 
> question connecting a variety of contributions from participants and guests 
> of Film in the Present Tense – International Symposium on Current 
> Developments in Analog Film Culture, held in Berlin from October 20 to 22, 
> 2017, and organized by LaborBerlin in collaboration with Filminstitut UdK 
> Berlin.
> 
> The book reflects a contemporary discussion around the use, value and purpose 
> of analogue film from a multiplicity of perspectives: artists, filmmakers, 
> scholars, archivists, curators, technicians and manufacturers. Film in the 
> Present Tense – Why can’t we stop talking about analogue film? intends to 
> provide a documentation of the collective momentum that characterized the 
> symposium and it responds to the persistent desire to keep talking about 
> analogue film.
> 
> With contributions by Nicola Baldini, Erika Balsom, Petra Belc, Christa 
> Blümlinger, Britt Al-Busultan, Anja Dornieden, Juan David Gonzáles Monroy, 
> Guy Edmonds, Scott Fitzpatrick, Tiago Ganhão, Sally Golding, Luisa 
> Greenfield, Philip Hoffman, Emmanuel Lefrant, Olga Moskatova, Aurélie 
> Percevault, Deborah S. Phillips, Martin Reinhart, Nicolas Rey, Julian Ross, 
> Katia Rossini, Kerstin Schroedinger, Guy Sherwin, Björn Speidel, Peter 
> Taylor, Esther Urlus, Stefanie Weberhofer, Philip Widmann, Zero Pixel, Ulrich 
> Ziemons.
> 
> 
> 
> 
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> 
> 
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Re: [Frameworks] avant-garde films about prostitution and pornography

[Rob Gawthrop]

Chantal Akerman   Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles 
Birgit & Willem Hein Kali-Film
Claudia Schillinger Between

Rob


> On 10 Jan 2019, at 09:54, Dinorah  wrote:
> 
> Hello Dorottya,
> 
> I have a film that is made from hand-colored, hand-scratched porn dating from 
> the 1930’s to the 1970’s, featuring Scopitone nudies, stag films & other 
> genres of porn. Additionally the work has been mentioned in some academic 
> writings I can also share with you. Write to me off list if interested. 
> 
> Dinorah de Jesús Rodriguez
> Multimedia Artist
> 
> On Jan 10, 2019, at 4:46 AM, Dorottya Szalay  > wrote:
> 
>> Dear Frameworkers, 
>> 
>> I am looking for avant-garde films made by women that tackle the topic of 
>> prostitution (sex workers). Also searching for films that focus on 
>> pornography. Any suggestions? 
>> 
>> Thank you!
>> Best,
>> Dorottya
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Re: [Frameworks] PF2 & 7302 questions

[Rob Gawthrop]

Best to do a clip-test as different batches of 7302 can have variable speeds.

Rob

> On 1 Oct 2018, at 11:21, Chris G  wrote:
> 
> Frameworkers,
> 
> I'm trying to figure out a few things about these print stocks. Does anyone 
> know which is faster? An older B contact printer I'm using has two exposure 
> settings, one for the ORWO stock and one for Kodak, I believe both to only 
> affect the lamp operation voltage, one setting has a lower voltage than the 
> other. Unfortunately it isn't terribly clear as to which of the two stocks 
> corresponds to which setting, and can only assume that one is more 
> light-sensitive than the other, and to go by that before running a test. 
> 
> Also, does anyone have experience processing either of these stocks in D-96? 
> Will it yield more grain and less contrast than D-97? The main difference I 
> see between the formulas is the lack of Borax in D-97...
> 
> Are both stocks orthochromatic? Will any orange darkroom safelight be okay to 
> work with?
> 
> Thanks!
> Christopher
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Re: [Frameworks] 16mm Editing Equipment

[Rob Gawthrop]

eighteen foot rewinds!

> On 3 Aug 2018, at 02:46, Dominic Angerame  wrote:
> 
> I have a matching pair of rewinds with universal shafts 18' long and stands 
> for them. They are listed on Ebay  (323377271375) will sell at a discount to 
> filmmakers on Frameworks. Shipping extra.
> 
> Also 16mm Moviscop on Ebay (323371063917) also a 20% discount for filmmakers 
> on Frameworks. Shipping extra
> 
> Contact me off site domi...@cinemod.net 
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Re: [Frameworks] Developing Tanks for 16mm

[Rob Gawthrop]

Thanks Lindsay & Ed

Best Wishes

Rob

> On 20 Apr 2018, at 23:20, Ed Inman <edin...@earthlink.net> wrote:
> 
> FWIW I found these original instructions online: 
> http://etienne.collomb.free.fr/morseg3/morseg3.html 
> <http://etienne.collomb.free.fr/morseg3/morseg3.html>
> Ed
> 
> -Original Message- 
> From: lindsay mcintyre 
> Sent: Apr 20, 2018 5:05 PM 
> To: Experimental Film Discussion List 
> Subject: Re: [Frameworks] Developing Tanks for 16mm 
> 
> Hi Rob,
> 
> In the G3 tank I've used several developers - these numbers are per 100ft of 
> 16mm - if I loaded 150-200 ft on the reel I would increase the times.  2L of 
> each solution at room temp - might need more for 35mm.  Its important to make 
> sure that you are winding emulsion OUT at least half the time.  I've done it 
> many times with other timings as well, based on the temperature of the 
> solution or whether the film was underexposed.  It always seems to work 
> pretty well.
> 
> D76 for 7222 
> dev 12 min (usually takes 1 minute to wind from head to tail so 12 winds)
> wash 6 min
> rapid fix 6-7 min
> wash 7 mins
> 
> D19 for 7363, 7231 and most other B+W stocks
> dev 5-7 mins
> wash 5 mins
> rapid fix 5-6 mins
> wash 7 mins
> 
> Best, 
> 
> Lindsay McIntyre
> 
> 
> 
> On Fri, Apr 13, 2018 at 9:24 AM, Rob Gawthrop <r...@robgawthrop.co.uk 
> <mailto:r...@robgawthrop.co.uk>> wrote:
> Hi Lindsay
> 
> What developer & dilution do you use? I’ve been getting rather poor results 
> and it takes ages.
> 
> Thanks
> 
> Rob
> 
> 
>> On 11 Apr 2018, at 18:13, lindsay mcintyre <email.li...@gmail.com 
>> <mailto:email.li...@gmail.com>> wrote:
>> 
>> Just in defence of the Morse G3 tank, I have several of these and I did all 
>> my black and white neg processing in these tanks for many years and always 
>> got beautiful results.  They're not as good for reversal processes, 
>> particularly if you are using permanganate bleach (even with the little 
>> exposure window) but for negative work they are great.  The process involves 
>> winding back and forth to achieve even processing and takes longer than say 
>> bucket processing, which is what I do now, but the G3 tanks have always 
>> worked well for me. I think depending on your developer, it can be about 12 
>> minutes of winding. 
>> 
>> Lindsay
>> 
>> 
>> On Mon, Apr 9, 2018 at 3:11 PM, Scott Dorsey <klu...@panix.com 
>> <mailto:klu...@panix.com>> wrote:
>> I'm saying the results will be so uneven that you'll have long sections
>> that aren't developed at all.  A five-gallon bucket will do garbage can
>> development of 100 ft of 16mm well enough that, although it'll be severely
>> uneven, it'll at least be developed all the way through.  Folks used to
>> do motion analysis films that way.
>> --scott
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Re: [Frameworks] FrameWorks Digest, Vol 94, Issue 20

[Rob Gawthrop]

Screen tests: Andy Warhol
Portrait of Jason: Shirley Clark 
Pause: Peter Kubelka
Granny Is: Davide Larcher
Almost Out: Jayne Parker

Best Wishes

Rob


> On 26 Mar 2018, at 18:38, Katherine Bauer  wrote:
> 
> HI Frameworkers
> I was wondering if anyone could give some titles of films that are "portrait 
> films"
> I am teaching at Hofstra U, and I am feeling stumped after assigning the kids 
> to make a portrait film, on examples of what to show them. 
> Just juggling so much, thought I would reach out for some help on at least on 
> of my 100s of to dos! 
> Anything, narrative, experimental, avant-gaurd, structuralist, montage...
> just that tells the story of a person. 
> preferably SHORT FILMS! But CAN also be features too. 
> Thanks.
> xoK
> 
> 
> 
> -- 
> 
> 
> 
> 
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Re: [Frameworks] The Motorcycle Jacket

[Rob Gawthrop]

Pedagogue  -Stuart Marshall  

> On 9 Jan 2018, at 23:37, Eric Theise  wrote:
> 
> Warhol's Blow Job and Vinyl, to name two.
> 
> On Tue, Jan 9, 2018 at 3:23 PM, Albert Alcoz  > wrote:
> El lobby contra el cordero (1968) by José Antonio Maenza.
> 
> 
> ​
> 
> On Tue, Jan 9, 2018 at 11:57 PM, Adam Hyman  > wrote:
> The Wild One, of course.
> 
> From: FrameWorks  > on behalf of Jesse Pires 
> >
> Reply-To: "Experimental Film Discussion List  >"  >
> Date: Tuesday, January 9, 2018 at 1:29 PM
> To: "Experimental Film Discussion List  >"  >
> Subject: [Frameworks] The Motorcycle Jacket
> 
> Any suggestions for experimental films that feature the classic leather biker 
> jacket prominently (in addition to Kenneth Anger)? 
> 
> -Jesse
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> 
> 
> 
> 
> 
> -- 
> http://visionaryfilm.net/ 
> http://albertalcoz.com/ 
> 
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> 
> 
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Re: [Frameworks] Electronic Soundtracks for Avant-Garde Films

[Rob Gawthrop]

Tony Conrad !


On 21 Dec 2017, at 11:38, Albert Alcoz  wrote:

> Hello all,
>  
> After asking about jazz
> 
> ​ and​​ music an experimental film​, ​and feeling grateful for all the 
> answers​, I was wondering about the connections between early electronic 
> music and avant-garde film.​ ​Recently I watched OFFON (1967-72) by Scott 
> Bartlett with a “sound composition” by Manny Meyer.
> 
> 
> 
> Again, there should be plenty of avant-garde films where the soundtrack is 
> instrumental electronic music or experimental
> 
> ​abstract ​sound created with magnetic tape recorders, synthesizers, 
> electronic tools, etc.
> 
>  
> Maybe one question would be to define what is considered to be early 
> electronic music but anyway, lets try it.
> 
>  
> Does anyone remember some other avant-garde films with
> 
> ​early ​electronic music​ from the 50's, 60's, 70's even 80's​? 
> 
>  
> Right now here’s the first list:
> 
>  
> Cybernetik 5.3 (1968) by John Stehura. Music: Tod Dockstader.
> 
>  
> Crystals (1968) by Herbert Loebel. Music: Michael Lloyd.
> 
>  
> Rohfilm (1968) by Birgit & Wilhelm Hein. Music: Christian Michaelis.
> 
>  
> Two Images for a Computer Piece (1969) by Lloyd Williams. Music: Vladimir 
> Ussachevsky.
> 
>  
> Variations on a Cellophane Wrapper (1970) by David Rimmer. Music: Don Druick.
> 
>  
> Berlin Horse (1970) de Malcolm Le Grice. Music: Brian Eno.
> 
>  
> Mutations (1973) by Lilian F. Schwartz. Music: Jean Claude Risset.
> 
>  
> Several films by Dore O. and Werner Nekes with sountracks by Anthony Moore 
> like Diwan (1973) or Kaskara (1974).
> 
>  
> Riddles of the Sphinx (1977) by Laura Mulvey and Peter Wollen. Music: Mike 
> Ratledge.
> 
>  
> Thanks in advance,
> 
>  
> Albert Alcoz
> 
>  
> -- 
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> http://albertalcoz.com/
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Re: [Frameworks] Experimental Films before 1910

[Rob Gawthrop]

Mark

Apart from obvious Méliès & Zecca  …   some regressive historians have 
considered early films (sometimes insultingly described as primitive) based 
mainly on formal achievement ( the first close-up, edit etc.) or precursors of 
hollywood narrative (point of view, establishing shots etc.) and have dismissed 
other aspects as being just amusing ‘trick films’.

The following favourites (often mentioned  in the above context) have both 
perceptual and conceptual content that  relate to concerns in some structural 
films, indeed some film artists (myself included)  have remade or 
recontextualised such films from this period.

James Williamson: The Big Swallow 1901
  : An Interesting Story 1904
George Albert Smith: The Miller & The Sweep 1898  (& much copied)
Cecil Hepworth: How it Feels to be Run Over 1900
Edwin S Porter: The Dream of a Rarebit Fiend 1906

Rob

On 13 Dec 2017, at 16:27, Mark Street  wrote:

> Hey All,
> 
> Preparing a brief talk on The Experimental Impulse in Early Cinema 
> thinking about how it ALL was that way by definition early on; an inventory 
> of tricks, effusions, failed and successful experiments.
> 
> Any favorites anyone can recommend?  
> 
> Mark
> 
> 
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Re: [Frameworks] Jazz Music and Avant-Garde Film

[Rob Gawthrop]

There is Ian Hugo’s ‘Jazz of Lights’ with Moondog and Anais Nin -  though the 
music is by Bebe & Lois Barron rather than Jazz per se.  

Len Lye’s ‘Tal Farlow’

and comparatively more recent there are films  that use free jazz &  improvised 
music - worth reading this article in ‘The Wire’ (2015)

https://www.thewire.co.uk/in-writing/collateral-damage/collateral-damage_experimental-music-on-film

This may raise a few questions around exeriemntal music and film?

Rob


On 8 Nov 2017, at 08:13, Albert Alcoz  wrote:

> Hello,
> 
> I was wondering about the connections between jazz music and avant-garde film 
> after watching Bridges-Go-Round (1958) by Shirley Clarke, with the soundtrack 
> version created by Teo Macero.
> 
> There should be plenty of avant-garde and experimental films where the 
> soundtrack is instrumental jazz music. Maybe the field of Visual Music should 
> be the most represented but i'm sure there are other films like the one by 
> Michael Snow that uses, in this case, free jazz music or improvisation.
> 
> Does anyone remember some other avant-garde films with jazz soundtracks? 
> 
> Right my list is as follows:
> 
> Begone Dull Care (1949) by Norman McLaren. Music by Oscar Peterson
> 
> Films No. 1 (1948) by Harry Smith. Music by Dizzy Gillespie
> 
> Chasse des Touches (1959) by Hy Hirsh. Music by Thelonious Monk
> 
> Catalog (1961) by John Whitney. Music by Ornette Coleman
> 
> New York Eye and Ear Control (1964) by Michael Snow. Music by Albert Ayler, 
> Don Cherry, etc.
> 
> Thanks in advance,
> 
> Albert Alcoz
> 
> 
> -- 
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Re: [Frameworks] Preservation Insanity / Brakhage & sound

[Rob Gawthrop]

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  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] optical sound film screening

[Rob Gawthrop]

Coincidentally, I have a film called Film Noise, made by scratching t  
legnthways along the soundtrack area and picture area on 10ft of black film, 
then contact-printing, scratching again in the same place and repeating ten 
times (pos - neg - pos etc.) and joining all the sections together. 

Rob

On 6 Mar 2017, at 23:58, Cinema Project  wrote:

> The Japanese filmmaker Takashi Makino works with 16mm film leader (in 
> addition to digital) to create what he calls Film/Noise. You can read about a 
> workshop he conducted in Portland just this weekend:
> 
> http://s1portland.com/workshops/takashimakino/
> 
> Mia
> -- 
> Cinema Project
> www.cinemaproject.org
> 971-266-0085
> PO Box 5991 
> Portland, OR 97228
> 
> On Mon, Mar 6, 2017 at 11:23 AM, Dave Tetzlaff  wrote:
> Sorry Roger. Yes, yes, yes. TBTX Dance is PERFECT (maybe essential?) for the 
> theme of optical sound produced by non-traditional means, and unique afaik in 
> the use of laser printing. It’s also just a cool film, and the prefect 
> (short) length for a program that seeks to survey and explore a vasriety of 
> means of generating sound on photochemical film.
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> 
> 
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Re: [Frameworks] Lying as a theme

[Rob Gawthrop]

Shirley Clarke "The Connection” 1961

Rob

On 22 Feb 2017, at 01:49, Morgan Hoyle-Combs  wrote:

> Hello
> 
> Does anyone know of any film (essay/diary/doc) where lying is a theme or the 
> main focus? I wondered if there was anything that ran among these lines: 
> 
> 1. The audience is well aware that the narrator/filmmaker is lying to them
> 
> 2. The audience does not know whether or not the narrator/filmmaker lying to 
> them. It's left ambiguous. 
> 
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Re: [Frameworks] "Husbands" and "Wives"

[Rob Gawthrop]

Myself & Jo Millett:
Miller & Sweep 16mm 1982
Field Recordings: Goonhilly SD Video 2012
RootedOut 2 X 16mm live, sound 2017 (in progress) for ReRooted Hull17 (March 
25th 2017)

Rob Gawthrop

On 10 Feb 2017, at 15:59, minou norouzi <minou.noro...@gmail.com> wrote:

> Dear Frameworkers,
> 
> I'm doing some research on filmmaking couples and wondered if you could help?
> 
> Am looking to identify filmmakers who are in relationships with other 
> filmmakers, or those have been in the past, and where their individual works 
> are distinct and separate from each other, rather than outright 
> collaborations (if that makes sense). This, within the artist's film, 
> artist-made film, experimental film genre. 
> The pairings I'm looking to identify need not be heterosexual pairings; very 
> open to historical suggestions as well. They just both need to have made a 
> significant number of films of their own.
> 
> Look forward to hearing your suggestions - very many thanks in advance!
> Minou 
> 
> 
> minounorouzi.com
> sheffieldfringe.com
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Re: [Frameworks] Ektachrome Video News Film

[Rob Gawthrop]

I used some 20 year old 7240 & 7239, stored really badly, processed ok by film 
& photo UK, some colour shift, and more grainy.  Worked fine for my purpose 
(“Remote” 2007).

Rob

On 15 Sep 2016, at 23:23, Brigid McCaffrey  wrote:

> Dear frameworkers,
> 
> I just acquired about 5k feet of Ektachrome "Video News Film" that was in 
> someone's fridge for 20 years. I'm curious if anyone has experience using 
> this stock, or a similarly dated and preserved color reversal stock. I would 
> be hand processing and looking forward to the surprises, but also don't want 
> to shoot a bunch of footage that will turn out to be .
> 
> Appreciate any insights you can offer!
> 
> Brigid
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Re: [Frameworks] Experimental films using Astronomy & Satellite imagery - recommendations

[Rob Gawthrop]

Erth John Latham UK 1971
"A journey from outer space to the centre of the world, in which consciousness 
itself is revealed as a form sedimented history. With distant views of the 
approaching Earth punctuated by black and silence, light years are compressed 
into a cosmic imaginary.” Lux

Moon 69 Scott Bartlett 1969
"Moon 1969 is a beautiful, eerie, haunting film, all the more wonderful for the 
fact we do not once see the moon: only the manifestation of its powers here on 
earth, the ebb and flow of the waters.. fiery rainbows into a cloudy sky... men 
and rockets transformed into shattering crystals... creating a picture if the 
cosmos in continual transformation."-- Gene Youngblood


Rob


On 13 Sep 2016, at 18:28, Adam Hyman  wrote:

> I'm working on programming a series around a theme of earth satellites &
> astronomy, for a museum that is doing an exhibition linked to JPL (Jet
> Propulsion Lab - the people behind our space probes, etc)
> 
> This is supposed to be a more mainstream series, and there will be some
> Hollywood sci-fi features as part of it, so we're not going too far out
> (so to speak).
> 
> But I'm looking for recommendations of experimental films that somehow
> involve/invoke astronomical imagery, or, perhaps even better, imagery of
> earth-orbiting satellites, and views of earth from satellites.  I hope to
> run one in front of each feature, or have one evening of them.
> 
> I am thinking of:
> Films by Semiconductor ­ Brilliant Noise; Black Rain
> Films by Jeanne Liotta
> Films by Jordan Belson ­ Allures; Samadhi (1967); Cosmos (1969); World
> (1970)
> 
> 
> I have already been through Robert Haller's booklet on his series
> "Universe" but I think I am not going to stretch this series to include
> his time or other science-based films.  We're sticking with astronomy and
> satellites.
> 
> Additional suggestions, please?
> 
> Thank you for your help.
> 
> Best regards,
> 
> Adam
> 
> -- 
> Adam Hyman
> Los Angeles Filmforum
> a...@lafilmforum.org
> http://www.lafilmforum.org
> 
> 
> 
> 
> 
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Re: [Frameworks] Films about glass and light

[Rob Gawthrop]

Slow Glass - John Smith

Rob


On 3 Feb 2016, at 03:32, Warren Cockerham  wrote:

> GLASS (1998) by Leighton Pierce 
> 
> On Tue, Feb 2, 2016 at 9:19 PM, Sheri Wills  wrote:
> Hello Everyone,
> 
> As part of a celebration of the 50th anniversary of the glass department at 
> RISD for next year, we are beginning to plan a series of screenings of 
> (mostly experimental) films that engage with materials, ideas, experiences of 
> glass and/or light - materially, abstractly, physically, metaphysically…..
> 
> We are planning a projection of Line Describing a Cone, and a screening of 
> Text of Light. The preliminary long list includes Moholy-Nagy’s films, Tacita 
> Dean’s Green Ray, and the 1959 industrial film, Glas, by Bert Haanstra.
> 
> It would be wonderful to hear thoughts from this group.
> 
> Many thanks in advance,
> Sheri
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Re: [Frameworks] films about solfege

[Rob Gawthrop]

Although not so much solfege as such but more construction of notes through 
recording/editing systems

 

Joanna Millett: Notes 1986 (video) 
http://lux.org.uk/collection/artists/joanna-millett

Joanna Millett:  85 Piano Notes 2001 (video  sound installation) 
http://www.jomillett.co.uk/•-85-piano-notes/

Jenny Okun: A Piece For Sunlight, Piano and 45 Fingers1979 (16mm)

Jenny Okun:  Rounds 1978 (16mm)

http://lux.org.uk/collection/artists/jenny-okun

 

Rob



On 6 Aug 2015, at 16:33, Amanda Christie ama...@amandadawnchristie.ca wrote:

 Hello hive mind,
 
 I'm looking for examples of films about or related to solfège.
 
 thanks,
 
 amanda
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Re: [Frameworks] countryside film

[Rob Gawthrop]

Luis Bunuel - Las Hurdes (land without bread) 1933
Joris Ivens - New Earth 1933 (not the version that has the final section 
censored)
Pare Lorentz - The Plough that Broke the Plains 1935

Rob 


On 13 Jul 2015, at 09:03, franco base frenk.ca...@gmail.com wrote:

 Hi
 I'm looking for experimental films where the idyllic vision of the 
 countryside is overturned. Films that show the violence and ignorance that 
 reign in the little villages in opposition, for example, with the hippie 
 vision of the countryside.
 
 Non experimental films are welcome also.
 I think to:
 Hunting Scenes from Bavaria little village
 La Poison 
 Straw Dogs
 
 Thanks a lot.
 
 
 f
 
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Re: [Frameworks] Kid-friendly films?

[Rob Gawthrop]

 Jan Svankmajer - Alice 1988.  maybe more of an adult friendly children’s film 
though my daughter when 5, watched it over and over (though now 28 and in 
retrospect wonders whether it was suitable)

Rob


On 13 Jul 2015, at 13:54, elizabeth mcmaon elizmcma...@yahoo.com wrote:

 Much from Mary Ellen Bute could be considered very kid friendly.
 
 And one of my favorites is Bruno Bozzetto's film Allegro Non Troppo. It is 
 rousing and inspiring, with magical animation.
 
 Elizabeth
 
 From: Dan Anderson bcfilmf...@gmail.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
 Sent: Monday, July 13, 2015 12:01 AM
 Subject: [Frameworks] Kid-friendly films?
 
 Hey all,
 
 Just wondering if anyone has recommendations for avant-garde films that go 
 over well with kids (12 and up). I'm not very good with censorship and always 
 forget that there is something  inappropriate with most of my favorite 
 movies... even just a good PG narrative is hard to find..
 
 So far my go-to is usually Neighbours by McLaren, and Dr. Strangelove for 
 a good narrative that won't get me in trouble..
 
 thanks!
 
 
 
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Re: [Frameworks] Andrew Noren

[Rob Gawthrop]

Interestingly I saw the LFMC print of Kodak Ghost Poems as a student at 
Maidstone college of art in the early 1970s, it was in good condition then.  
I’ve not forgotten it (obviously).

Rob


On 12 Jun 2015, at 16:19, Rise Hall-Noren rise.hallno...@gmail.com wrote:

 Dear Gene,
 
 To clarify the record, Eastman Kodak did send Andrew a letter in late 1973 or 
 early 1974, which very politely requested that he change the title of Part I, 
 since Kodak was a protected trademark.  I still remember when we received the 
 letter, which is in our files, and there was a small exchange of 
 correspondence in which Andrew promised to immediately make the change and 
 follow up to track down any prints.  
 
 Of course, when a major US corporation sends a letter that they wish to 
 protect  their registered trademark, at the time to a very poor artist, the 
 threat of a lawsuit was implied. 
 
 Perhaps a year or so later, Kodak's Legal Dept. sent another letter that 
 concerned a bootleg print of Part I, now known to us as Huge Pupils, that 
 travelled through Europe for 4-5 years that he and the London Coop had never 
 been able to track down.  At the end of that period, the London Coop somehow 
 managed to get their hands on it, and Andrew requested that they destroy it, 
 as it was in terrible condition.  No one ever wants their work exhibited that 
 way.
 
 Just for the record, Kodak showed nothing but courtesy and restraint, and 
 they did own the trademark, after all.
 
 Rise' Hall-Noren
 
 On Thu, Jun 11, 2015 at 5:08 PM, Gene Youngblood ato...@comcast.net wrote:
 There’s no particular point to this except the memory of when Kodak 
 threatened to sue Andrew and he changed the name of his work to Adventures of 
 the Exquisite Corpse. Now there’s two corpses and two ghosts, each haunting a 
 different world I guess...
 
 
 On Jun 11, 2015, at 2:03 PM, Alex Lake stagnantp...@gmail.com wrote:
 
 I viewed the three titles at the NYPL just last year and can attest that all 
 the prints are in great shape. Now if there were only viewing copies of 
 Kodak Ghost Poems/Huge Pupils, but it's good to hear there's a print of Wind 
 Variations in Berlin!
 
 On Thu, Jun 11, 2015 at 3:33 PM, Jacob waltmanja...@gmail.com wrote:
 For what it's worth, I had the chance to view Charmed Particles, The Lighted 
 Field and Imaginary Light at the NYPL in the Summer of 2012.  Admittedly, my 
 perception of the condition of the prints may have been swayed by how 
 incredible the films are, but I remember them being in fantastic condition...
 
 
 -- 
   ---
 JACOB WALTMAN
 Carolina MacGillavrylaan 2148 1098XK
 Amsterdam
 http://making-light-of-it.blogspot.com/
   ---
 
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 -- 
  Rise'
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Re: [Frameworks] Response to Gene Youngblood

[Rob Gawthrop]

More critical debate about what films to recommend to be introduced to, and 
discussed and less affected fallacies.

But … Sam Taylor-Wood - glossy Warhol derived,  made easy for the international 
art market,  and what has she made recently? that great call to feminism with 
her 50 shades of what? (and its not even monochrome).

Rob


On 1 Apr 2015, at 19:01, Greg DeCuir g

dec...@yahoo.com wrote:

 I'm with you Kelly and everything you're saying, even though I have only 
 followed this thread intermittently. A bit more maturity and understanding on 
 all sides seems like it would not hurt.
 
 For what it is worth, and in my humble opinion, Sadie Benning's It Wasn't 
 Love is one of the greatest works of cinema I have ever seen, barring no one 
 and nothing. It will always have a special place in my own personal canon, 
 which I only hope is out of step with accepted/entrenched/official ones.
 
 Cordially,
 
 Greg de Cuir, Jr
 Selector/Curator, Alternative Film/Video Belgrade
 
 From: Kelly Gallagher ke...@purpleriot.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
 Sent: Tuesday, March 31, 2015 8:20 PM
 Subject: Re: [Frameworks] Response to Gene Youngblood
 
 Sasha, I appreciate your intelligent and helpful response bringing some 
 radical women filmmakers into the original post. Sometimes many people in 
 this space seem to get very stuck on notions of the canon which means that 
 important work like that of Sadie Benning and Hito Steyerl gets swiped aside. 
 As a young woman experimental filmmaker I appreciate your challenging and 
 provoking comments in your original post.
 As a young woman experimental filmmaker I also stand fervently and explicitly 
 against sexist and patronizing comments, tone, and antagonizing. I'm a little 
 taken aback that more people haven't loudly and explicitly critiqued the 
 sexism and sexist patronizing/condescension that was thrown at Sasha and I'm 
 kind of surprised and disappointed. Frameworks will continue to lose many 
 radical and important filmmakers, thinkers, and feminists, especially many 
 young filmmakers, over deplorable vitriol such as what's played out here in 
 this incident.
 In solidarity with Sasha, Kim, and all women filmmakers in experimental 
 spaces who demand to stop being condescended to.
 -Kelly
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 On Tue, Mar 31, 2015 at 11:33 AM, Tim Halloran televis...@hotmail.com wrote:
 Calm down.
 
 Thanks for adding nothing to the conversation.
 
 Tim
 
 Sent from my iPad
 
 On Mar 31, 2015, at 8:09 AM, Cari Machet carimac...@gmail.com wrote:
 
 gene owes no fucking apology in any way 
 
 you on the other hand need to do some hefty work on yourself - obliviousness 
 to self critique is a frightening place to even witness
 
 a hearty fuck off to you sasha
 
 On Tue, Mar 31, 2015 at 4:08 PM, chris bravo iamdir...@gmail.com wrote:
 Clearly my rhetorical excesses with regards to Wavelength
 
 your rhetoric wasn't excessive it was offensive. 
 
 On Tue, Mar 31, 2015 at 9:22 AM, Sasha Waters Freyer swfre...@vcu.edu 
 wrote:
 
 Mr. Youngblood,
 
 Clearly my rhetorical excesses with regards to Wavelength offended you.  
 However, turning a critical disagreement over a 48-year-old film is no 
 excuse to attack my ability as a teacher or to dictate my responsibility 
 to my students. I will chalk this exchange up to your passion for Snow's 
 work, and not an inherent rudeness of your character.  I accept your apology 
 in advance.
 
 Yours,
 
 
 Sasha Waters Freyer
 
 
 On Tue, Mar 31, 2015 at 3:02 AM, frameworks-requ...@jonasmekasfilms.com 
 wrote:
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 When replying, please edit your Subject line so it is more specific
 than Re: Contents of FrameWorks digest...
 
 Today's Topics:
 
1. Re: VSW - to your attention! (Bernard Roddy)
2. Looking to purchase a JK Optical Printer (Christopher Harris)
3. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (Bernard Roddy)
4. 3 sound works (Bernard Roddy)
5. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (direc...@lift.on.ca)
6. Re: VSW - to your attention! (Amanda Christie)
7. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (Kelly Gallagher)
8. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   

Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?

[Rob Gawthrop]

Although your question is for a specific purpose, the implications open up a 
broader and deeper debate than choosing three films.  Having been in higher 
education for a long time and shown many works to different groups of students 
(fine art in particular), certain works have come to the fore:

 The Seashell and the Clergyman – Germaine Dulac France 1927.  This opens up 
the whole problem of interpretation as well as the cultural contexts of 
surrealism, feminism, censorship and in respect of authorship; Dulac being the 
first feminist film theorist and proponent of a ‘pure cinema’ and Artaud’s 
theories of theatre of cruelty.


 Sailboat – Joyce Wieland  Canada 1967.  Positions the viewer in relation to 
the camera – of three-dimensional space (including sound), flatness and time.


 RayDay Film – Jeff Keen England 1967  Connects the ‘underground’ with pop art, 
collage, performance, abstraction, destruction, noise and expanded cinema.


 Discussion around the works is central and if it is one screening, then films 
such as Wavelength  or Zorns Lemma (or Nostalgia) may be too long. The above 
films connect well with other art works and other experimental films that can 
be referred to.  The idea of a ‘canon’ or a hagiographical ‘history’ is 
problematic. The contexts of these films – social, political, cultural – cannot 
be separated from their form/content.  There are many others that could be 
substituted but I seem to return to these three.




Rob.

On 27 Mar 2015, at 17:43, Donal OCeilleachair donalo...@gmail.com wrote:

 Dear Frameworkers:
 
 I am working on a new film project with the Ealaíontóirí Mhuscraí 
 (that's Irish for the Muskerry Region Artists Group) 
 
 Part of the project will involve film / video making workshops where I will 
 show
 them works from experimental film, creative documentary and artists' moving 
 image works
 as a point of reference and inspiration for their own initial explorations
 into the realm of the moving image
 
 I am compiling a short-list of 'Essential' works to show them during these 
 workshops 
 and I would appreciate responses to the question:
 'What are the 3 Essential Films that you would show Artists 
 on their first foray into the Moving Image Realm ?'
 
 I look forward to hearing any suggestions
 
 Le míle buíochas (with many thanks)
 -- 
 Dónal Ó'Céilleachair
 www.anupictures.com
 
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