Re: [Frameworks] new (future) film stock
Huzzah's all around. Thanks for sharing, Roger. Royce Marcus Cell: 919-616-5425 E-Mail: roycemarcusfi...@gmail.com roycemarcusfi...@gmail.com Staff Me Up: http://staffmeup.com/profile/roycemarcusfilmshttp://staffmeup.com/profile/roycemarcusfilms Behance: http://www.behance.net/RoyceMarcusFilmshttp://www.behance.net/RoyceMarcusFilms LinkedIn: http://www.linkedin.com/in/roycemarcusfilmshttp://www.linkedin.com/in/roycemarcusfilms Twitter: https://twitter.com/RoyceMarcusFilmhttps://twitter.com/RoyceMarcusFilm On Wed, Jul 24, 2013 at 4:00 PM, Beebe, Roger roge...@ufl.edu wrote: Just saw this (on Facebook) courtesy of Dagie Brundert: http://www.filmkorn.org/ferrania-the-new-old-hope-for-analogue-film/ Gives us some additional hope as Kodak scales back their offerings. Thrilled about the prospect of a 100D reversal in super 8 and 16mm... Heads up, Roger ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] drugged
The first 10ish minutes (or potentially the whole movie depending on your point of view) of Enter the Void by Gaspar Noe should be a pretty obvious choice. Royce On Sat, Feb 9, 2013 at 2:50 PM, Matt Helme dcinema2...@yahoo.com wrote: We can't go back Home Again by Nick Ray. Matt http://www.youtube.com/user/matthelme007 *From:* Eric Theise ericthe...@gmail.com *To:* Experimental Film Discussion List frameworks@jonasmekasfilms.com *Sent:* Saturday, February 9, 2013 2:40 PM *Subject:* [Frameworks] drugged Hello Frameworkers, I'm hoping to get suggestions for studying the tropes of the trip, that is to say, the way hallucinatory and other drug experiences have been portrayed on-screen. Flashy, over-the-top visual signifiers are what I seek, but Frameworks excels at identifying examples that aren't what the original poster had in mind, so please go to it! Examples will be put to experimental purposes, but can come from any genre, thanks in advance. Hope all of you affected by the Nemo storm are okay and able to find beauty in it. --Eric ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Royce Marcus 919-616-5425 roycemarcusfi...@gmail.com https://twitter.com/RoyceMarcusFilm http://www.behance.net/RoyceMarcusFilms (password for video is preview without quotations) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Final orders of Ektachrome.
From what I understood, when the sent out that press release, they were already done making ektachrome. It was just whatever they had left they were going to sell. I may be wrong though. It was sort of a mad dash after that. Royce On Thu, Jan 10, 2013 at 1:43 PM, zach vonjoo zu...@yahoo.com wrote: Hello Filmmakers-- I was still getting my resources together for a large order when I found Kodak had stopped taking orders for Ektachrome a couple of weeks ago, a little sooner than I had anticipated. Does anyone know the status of Kodak's final batch of Ektachrome? How much are they making, when will it be shipped out, etc. I called Kodak and they couldn't answer my questions, but maybe that was just whoever I spoke with on the phone... Happy New Year, Zach ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Royce Marcus 919-616-5425 roycemarcusfi...@gmail.com https://twitter.com/RoyceMarcusFilm http://www.behance.net/RoyceMarcusFilms (password for video is preview without quotations) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] ANAL (New Video art by me)
Sorry, doesn't work. On Thu, Dec 20, 2012 at 2:59 AM, jaime cleeland ethnom...@yahoo.co.ukwrote: http://archive.org/download/FrankHooligandeadskinalexeiBorisovAndAdamEbringer-Splitlaptop/Anal.avi please enjoy ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Royce Marcus 919-616-5425 roycemarcusfi...@gmail.com https://twitter.com/RoyceMarcusFilm http://www.behance.net/RoyceMarcusFilms (password for video is preview without quotations) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Analogue Film
Oooo, did not know this. Haven't checked them out in a few years. Thanks for the tip. Royce On Mon, Dec 17, 2012 at 8:27 AM, Jason Halprin jihalp...@yahoo.com wrote: It's worth noting for those in the US that Spectra Film Video sells Fuji Velvia in Super 8. -JH -- *From:* Phaeton Graph phaetongr...@yahoo.co.uk *To:* Cherry Kino cherrykinocin...@yahoo.com; Experimental Film Discussion List frameworks@jonasmekasfilms.com *Sent:* Monday, December 17, 2012 1:21 AM *Subject:* Re: [Frameworks] Analogue Film Thanks Cherry, The cost of individually importing film (and film accessories) to UK from continental Europe is exessive - I tried it a couple of times and came away with holes in my pockets. If only UK companies would be a little more outgoing and buy in some of these film stocks *in bulk* it would be a happy day all round. That Fuji Velvia exists as a motion picture film stock yet, as far as I know, is unavailable in Britain as cine film, says it all. Silverprint London (Waterloo) occasionally stock Foma film [Czech Republic] in b/w reversal, Standard 8, Double Super 8, and 16mm. This is great stuff I find and they also sell the chemistry to develop it. But the supply is sporadic. Possibly with dwindling reversal stocks the supply may improve and Foma may step up their production, what have they to lose? If only they could come up with a colour reversal film to match their b/w stock. Fingers crossed for the future of reversal film. PG ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Royce Marcus 919-616-5425 roycemarcusfi...@gmail.com https://twitter.com/RoyceMarcusFilm http://www.behance.net/RoyceMarcusFilms (password for video is preview without quotations) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] CALL FOR ENTRIES Urban Research 2013
Very cool. I am in the U.S. I'm not sure how long it would take for the mail to arrive, but rest assured, I will submit this week. Data disk will work from U.S. to Germany, correct? I've never submitted internationally. Royce On Wed, Dec 12, 2012 at 8:38 PM, Klaus W. Eisenlohr kl...@richfilm.dewrote: ** Hallo Royce, we are looking for current work. If the work is new to us, and it feels contemporary (and fitting to one of the programs), it could also be from before 1999 ;) i.e. no fixed rules about date of premiere of the film Does the film have to be from this year? Or could it be older? Couldn't find any information on this. Thanks, -Royce On Wed, Dec 12, 2012 at 8:11 PM, Klaus W. Eisenlohr kl...@richfilm.de wrote: *Urban Research on Film 2013* *Call for Entries* Deadline Dec 20, 2012 ** -- ** *Klaus W. Eisenlohr, Osnabrücker Str. 25, D-10589 Berlin, Germany* email:** **kl...@richfilm.de and film production:** **http://www.richfilm.de phone:****int.- 49 - 30 - 3409 5343 (BERLIN) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Royce Marcus 919-616-5425 roycemarcusfi...@gmail.com https://twitter.com/RoyceMarcusFilm http://www.behance.net/RoyceMarcusFilms (password for video is preview without quotations) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] CALL FOR ENTRIES Urban Research 2013
Does the film have to be from this year? Or could it be older? Couldn't find any information on this. Thanks, -Royce On Wed, Dec 12, 2012 at 8:11 PM, Klaus W. Eisenlohr kl...@richfilm.dewrote: ** *Urban Research on Film 2013* *Call for Entries* Deadline Dec 20, 2012 Urban Research is a film and video program curated by Klaus W. Eisenlohr for Directors Lounge 2013. Urban Research encompasses explorations of public space, the conditions of urban life, and interventions in the urban sphere, by international film and video artists using experimental, documentary, abstract, or fictive forms. For The 9th International Berlin Directors Lounge artists¹ moving image in any format except 35mm are welcome. City life and modernity have been as strongly connected as film and architecture, two art practices, which had a strong impact in shaping the character of the 20th century; playing a major part in establishing and shaping the myth of metropolitanism, the myth of modern art, and of course including the work of self-mystification. During the twentieth century both broadcast radio and cinema embraced the ideological myths of regimes of power. In post-modern, post-histoire, and post-industrial art practice, the controversy between l'art pour l'art and political activism became even more pronounced, their opposition may have been just the flip-sides of one coin, while each side promulgated their part of mythologies, these were capitalized on more by the art market than they were appreciated by centers of power or by a critical public. However more recently, a different, more critical practice has developed and a growing number of artists have become concerned with distinct ideas about the changing social and spatial frameworks of the city. Avant-garde film of the 50's and 60's and it's more current reception may or may not have given new inspirations to these critical art practices. Those artists intervene in, irritate, and question the conventionally received myths. While the digital revolution, globalization and the spreading financial crises have had a direct effect on the quality of urban living space , artists use both analogue and digital media to question common narratives and produce new observations. Urban Research 2013 will be first presented at Directors Lounge 7--17 February 2013. The program has also been presented internationally in screenings in London, Mannheim, Hannover, Poznan, Freiburg, Essen, Dordrecht, Senigallia, St. Petersburg and Berlin. *Please ship to:* Klaus W. Eisenlohr, Urban Research, Osnabrücker Str. 25. D-10589 Berlin, Germany Contact: klaus |at| richfilm |dot| de *Online submission required:* http://richfilm.de/DL2013/framesCall.html You may also consider to submit to Directors Lounge General Call - I will send out an invite tomorrow. Please don't submit to both Programs! *Directors Lounge General Open Call* http://directorslounge.tumblr.com/submitting Links: http://richfilm.de/DL2013/framesCall http://www.directorslounge.net ** -- ** *Klaus W. Eisenlohr, Osnabrücker Str. 25, D-10589 Berlin, Germany* email:** **kl...@richfilm.de and film production:** **http://www.richfilm.de phone:****int.- 49 - 30 - 3409 5343 (BERLIN) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Royce Marcus 919-616-5425 roycemarcusfi...@gmail.com https://twitter.com/RoyceMarcusFilm http://www.behance.net/RoyceMarcusFilms (password for video is preview without quotations) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Barbara Rubin - Christmas on Earth, Opens Tue Dec 18th
UGHGHGH. Wish I was in NYC for this. I'll just say, if you have not had the opportunity to see this in 16mm, do whatever you can to make it out to this exhibit. Royce On Mon, Dec 10, 2012 at 11:14 PM, Will Cameron w...@boo-hooray.com wrote: New Exhibit: Barbara Rubin - *Christmas On Earth* December 18th - January 16th Opening Reception Tuesday, December 18th, 6-9 PM Boo-Hooray boo-hooray.com 265 Canal St., 601 New York, NY 10013 *Barbara was the moving force and coordinator between us all. * - Lou Reed, December 2012 *so i shoot shoot shoot shreak **up over slow fast down often all the way around rewound many times **the subject, what else could it be, was all about cocks cunts fantasies **that freely expressed our sexual needs dreaming beliefs **painted on their nude bodies** **(...)** **so i spent 3 months chopping the hours of film up **into a basket **and then toss and toss **flip and toss **and one by one **Absently enchantedly Destined to splice it together **and separate on to two different reels **and then project one reel half the size **inside the other reel full screen size **and then i showed it **and someone tells me, 'my what a good editing job that is indeed!* - Barbara Rubin, from A, P.S. to *Christmas On Earth* (1966) Boo-Hooray in co-operation with Jonas Mekas and Anthology Film Archives is staging an exhibition of still images and ephemera relating to Barbara Rubin's landmark 1963 underground film *Christmas On Earth.* The exhibition opens with a reception at Boo-Hooray from 6 to 9 PM Tuesday, December 18th and runs through Wednesday, January 16th. Festive seasonal sausages from Zum Stammtisch and pretzels by Keegan Cooke will be served up. Boo-Hooray is closed December 22nd through January 3rd 2012. In conjunction with the exhibition, a screening of *Christmas On Earth *and *To Barbara Rubin With Love* by Jonas Mekas is scheduled for Wednesday, January 9, 2013 at 7:30 PM at Anthology Film Archives. Boo-Hooray is also publishing a limited edition book of still images from*Christmas On Earth *. This book comes with an extended biographical essay and bibliography by art historian Daniel Belasco, alongside rare ephemera and correspondence. More information to follow. Originally titled *Cocks and Cunts*,* Christmas On Earth* is a film of sexual tableaux vivants, gay and straight, where two separate reels of film are superimposed on each other, with additional light effects layered on these images, all accompanied by a contemporary rock radio soundtrack, as specified by Rubin. The film was projected onto the performing Velvet Underground as a part of *Andy Warhol Up-Tight*, an early version of *Exploding Plastic Inevitable *multimedia performance, in February 1966 at the Filmmaker's Cinematheque, in March of the same year at Rutgers University, and in April at the renamed *Exploding Plastic Inevitable *performances at the Dom in Manhattan. Barbara Rubin (1945-1980) was a filmmaker, writer and scenester who started working for Jonas Mekas at the Filmmaker's Cinematheque in 1963. This was the year she filmed *Christmas On Earth* in the Lower East Side apartment of Tony Conrad and John Cale at 56 Ludlow Street. This was also the future home of Sterling Morrison and Lou Reed, and where the first version of All Tomorrow's Parties was recorded in the summer of 1965. Rubin introduced The Velvet Underground to Andy Warhol. A photograph exists of her filming The Velvet Underground performing at the Café Bizarre in December 1965. The footage she shot is lost. As a human link document, Rubin also introduced Bob Dylan to Allen Ginsberg, and according to John Cale, Edie Sedgwick to Andy Warhol. She left New York at the tail end of the 1960's, became heavily involved in Orthodox Judaism, and died in childbirth in 1980 in France. After a handful of screenings in the mid- to late- 1960's, *Christmas On Earth *remained unseen for years as per Rubin's instructions for the film to be destroyed. Luckily, Mekas did not follow through on Rubin's request, as she later changed her mind and allowed him to screen and distribute the film. Since 1983, it has been screened regularly, and is slowly but steadily taking its place in the canon of 1960's underground films and cultural milestones that unraveled American censorship law and opened the field for artistic studies of sexual narratives. * * *Hadn't I once a youth that was lovely, heroic, fabulous, something to write down on pages of gold? - I was too lucky! Through what crime, by what fault did I deserve my present weakness? You who imagine that animals sob with sorrow, that the sick despair, that the dead have bad dreams, try now to relate my fall and my sleep. I can explain myself no better than the beggar wth his endless Aves and Pater Nosters. I no longer
Re: [Frameworks] Production Code
I also can't answer your original question, but I'd like to reinforce what Johnathan has said and add some of my own findings. My senior thesis was an investigation between the intersections of American Avant-Garde cinema and American Pornography, specifically in the '60s and '70s, and the filmmakers of the avant-garde really didn't care about censorship, be it from the Production Code, or more severe legal repercussions from obscenity laws. Most avant-garde filmmakers were content presenting their films in microcinemas or film societies, right beside exploitation, sexploitation, and pornographic films. It wasn't until Jack Smith's Flamming Creatures went in front Federal Court that the avant-garde had to defend itself. Even then, most avant-garde filmmakers were only looking to defend themselves (in the legal realm at least). It was pornographic filmmakers that were much more aggressive when it terms of directly challenging and fighting things like the Production Code, obscenity laws, etc. I don't have access to the book, but while I'd say there were for fewer venues for Anger and other avant-grade filmmakers, gay or otherwise, to release there work in the '40s and '50s, they still clearly did and they had enough of an impact and relevance to be recognized throughout the decades. Not sure if this helps. Best of luck! Royce On Sun, Oct 28, 2012 at 9:13 PM, Jonathan Walley wall...@denison.eduwrote: Eleni, I'd be interested to hear other peoples' perspective on this, but the Production Code had little, if anything, to do with censorship problems encountered by experimental filmmakers like Anger or Markopoulos. The Code was developed by the film industry (i.e. Hollywood), and, to the best of my knowledge, only affected the production (and distribution) of industry films - that is, films made by the Hollywood studios. It was a mechanism the industry developed to self regulate, precisely so their films WOULDN'T be censored by outside law enforcement or other government authorities. The Code thus had no bearing on filmmakers working outside the industry, which would certainly include Anger and Markopoulos. This isn't to say that such filmmakers faced no censorship - they faced it from legal authorities and morality and decency groups - just that they didn't face it from within the industry, since they were not a part of that industry and thus were not bound by its internal strictures. The rules of the Code had no legal power, as they were voluntarily imposed from within the industry BY the industry itself. They were essentially company policy, not state or federal law. And a film released with the Production Code Administration's seal of approval could still be censored by local government authorities if those authorities believed the film contravened state or local laws governing film content. I read the relevant passages of Russo's book, and while he does mention the Code while also discussing the films of Anger and other experimental filmmakers, he seems only to be drawing a - rather vague - parallel. If I read him right he never actually claims that the Production Code had any direct impact on experimental films. And if he DOES say that somewhere, it's not accurate. Any censorship of experimental films came from the government, not the industry, and thus not the Code. I realize this doesn't answer your question about Markopoulos being censored, but I hope it helps a little. Best, Jonathan Jonathan Walley Associate Professor of Cinema Denison University wall...@denison.edu On Sun, Oct 28, 2012 at 7:48 PM, Eleni Philippou eleni_philip...@hotmail.com wrote: Hello everyone, I am reading Vito Russo's book The Celluloid Closet about the Production Code in order to control homosexual references in the movies in America during the '40s and '50s. As an example, he mentions Kenneth Anger's work and how difficult was for Anger to release Fireworks and Scorpio Rising because of this Production Code. Does anyone know if Gregory Markopoulos faced the same problem with the censorship? Thank you very much for your help. Best, Eleni Filippou ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Royce Marcus 919-616-5425 roycemarcusfi...@gmail.com https://twitter.com/RoyceMarcusFilm http://www.behance.net/RoyceMarcusFilms (password for video is preview without quotations) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
