[Frameworks] Distributer for Sara Gómez: Ire a Santiago

[Carl Elsaesser]

Hi Framers,

I've been on a wild goose chase to track down Ire a Santiago by the film
maker Sara Gómez, but still can't find any lead. Any one know where one
could rent her work or who has the rights to her films?

All my best,
Carl Elsaesser

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207-449-1497
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[Frameworks] Contact info for Marcel Beltran

[Carl Elsaesser]

I'm looking to get in touch with him about renting a piece of his for an
exhibition I'm programing. If you have contact info for him would you mind
emailing me directly?

Thanks!
-Carl Elsaesser

-- 
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207-449-1497
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Re: [Frameworks] The Participatory Camera

[Carl E Bogner]

John, hi -
Would Joyce Wieland + Hollis Frampton's  A + B in 
Ontario<https://film-makerscoop.com/catalogue/joyce-wieland-a-andamp-b-in-ontario>
 count? Wieland and Frampton shot it in 1967, the 
film<https://www.youtube.com/watch?v=TRFJ2KJr2fk> edited in 1984.

Nancy Holt and Robert Smithson's 
Swamp<http://www.ubu.com/film/smithson_swamp.html> (1971)?

Though, sure, I wouldn't say these are overlooked or under-appreciated. I'm 
just avoiding grading.

Carl
Milwaukee



From: FrameWorks  on behalf of John 
Powers 
Sent: Tuesday, October 29, 2019 12:53 PM
To: frameworks@jonasmekasfilms.com 
Subject: [Frameworks] The Participatory Camera

Hi Frameworkers,

Sorry to hit the list with one of those periodic crowd-sourcing requests, but 
I'm curious if anyone can recommend experimental films from the 1960s-80s, 
especially overlooked or under-appreciated, where the camera could be said to 
"participate" in the actions depicted, rather than simply to "observe." I 
understand that these distinctions are not so black-and-white, and, construed 
broadly, any instance of shooting film could be called "participatory." But I'm 
thinking more of examples like Carolee Schneemann's FUSES, where the camera is 
integrated into Carolee and Tenney's sexual life, and they pass it back and 
forth; or Brakhage's WEDLOCK HOUSE: AN INTERCOURSE, where Stan & Jane pass the 
camera back-and-forth during an argument. CHRISTMAS ON EARTH is another 
candidate. Anyone have similar examples of 
camera-sharing/participation/interaction with the instrument, however you want 
to construe such a thing?

Thanks for your assistance!

best,
John

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Re: [Frameworks] Autobiographical Films

[Carl E Bogner]

Lindsay, also and but of course, the work of another colleague:


Kym McDaniel’s Exit Strategy 
series<https://www.kymmcdaniel.com/exit-strategy-1/> (#1-#6)


Carl
Milwaukee


From: FrameWorks  on behalf of Carl E 
Bogner 
Sent: Wednesday, September 12, 2018 11:27 AM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Autobiographical Films



Lindsay,

Some ideas re: autobiographical


Ariel Teal’s Becoming<http://arielkateteal.com/BECOMING-1>

Neil Goldberg’s My Parents Read Dreams I’ve Had About 
Them<https://neilgoldberg.com/work_dreams.htm>

Carrie Hawks’ black enuf<https://www.blackenuf.com/>

Scott Fitzpatrick<https://vimeo.com/artbarbarian>’s Fifth Metacarpal

Drew Durepos’ Elder Abuse<https://vimeo.com/256346126>

Jenni Olson’s Blue 
Diary<https://www.frameline.org/distribution/distribution-catalog/distribution-film-index/blue-diary>


Thanks for instigating this thread. "Following,” as they say.


Carl

Milwaukee



From: FrameWorks  on behalf of lindsay 
mcintyre 
Sent: Tuesday, September 11, 2018 9:59 PM
To: Experimental Film Discussion List
Subject: [Frameworks] Autobiographical Films

Hi Frameworkers,

I the wisdom of the list-serve. I'm looking for some good, available, 
(preferably short) autobiographical, auto-ethnographic or even fictionalized 
autobiographical films. Maybe some that are off the beaten path or new to the 
world. Experimental or otherwise. Can anyone think of funny ones? Indigenous 
makers or people of colour, female, non-binary, suggestions are great but any 
and all suggestions are very welcome. Any ideas?

Thanks in advance,

Lindsay McIntyre


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Re: [Frameworks] Autobiographical Films

[Carl E Bogner]

Lindsay,

Some ideas re: autobiographical


Ariel Teal’s Becoming<http://arielkateteal.com/BECOMING-1>

Neil Goldberg’s My Parents Read Dreams I’ve Had About 
Them<https://neilgoldberg.com/work_dreams.htm>

Carrie Hawks’ black enuf<https://www.blackenuf.com/>

Scott Fitzpatrick<https://vimeo.com/artbarbarian>’s Fifth Metacarpal

Drew Durepos’ Elder Abuse<https://vimeo.com/256346126>

Jenni Olson’s Blue 
Diary<https://www.frameline.org/distribution/distribution-catalog/distribution-film-index/blue-diary>


Thanks for instigating this thread. "Following,” as they say.


Carl

Milwaukee



From: FrameWorks  on behalf of lindsay 
mcintyre 
Sent: Tuesday, September 11, 2018 9:59 PM
To: Experimental Film Discussion List
Subject: [Frameworks] Autobiographical Films

Hi Frameworkers,

I the wisdom of the list-serve. I'm looking for some good, available, 
(preferably short) autobiographical, auto-ethnographic or even fictionalized 
autobiographical films. Maybe some that are off the beaten path or new to the 
world. Experimental or otherwise. Can anyone think of funny ones? Indigenous 
makers or people of colour, female, non-binary, suggestions are great but any 
and all suggestions are very welcome. Any ideas?

Thanks in advance,

Lindsay McIntyre


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Re: [Frameworks] FrameWorks Digest, Vol 94, Issue 20: Portrait Films

[Carl E Bogner]

Edward Owens’ Remembrance: A Portrait 
Study<http://film-makerscoop.com/catalogue/owens-edward-remembrance-a-portrait-of-study>
 (6min., 1967), available from Film-makers Coop, who shares the Tate’s 
description:


Remembrance: A Portrait Study is a filmic portrait of the artist’s mother, 
Mildered Owens, and her friends Irene Collins and Nettie Thomas, set to a score 
of 50s and 60s hit songs. Using Baroque lighting techniques, Owens captures the 
three women drinking and lounging one evening.


Also screening in Milwaukee on April 
24<https://www.facebook.com/events/1975419619186954/>, just saying.


Carl



From: FrameWorks  on behalf of 
Katherine Bauer 
Sent: Monday, March 26, 2018 12:38 PM
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] FrameWorks Digest, Vol 94, Issue 20

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] Eulogy Films

[carl]

Tokyo-Ga, Wim Wenders’ ode to Ozu might fit your bill – it’s feature length, 
though….

Carl

 

From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Margaret Rorison
Sent: Monday, March 20, 2017 5:41 PM
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Eulogy Films

 

Thank you, All!

 

This has been great. Keep them coming...

 

I can't wait to sit down and immerse myself in all of these odes to lives and 
to the living. 

 

Meg

 

---

 <http://margaretrorison.com/> http://margaretrorison.com/

 <http://sightunseenbaltimore.com/> http://sightunseenbaltimore.com/

 

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Re: [Frameworks] Eulogy Films

[Carl E Bogner]

Ahhh, more generalized/communal/generational that you may be interested in, but 
also:

Michael Wallin’s Decodings (1988)

Mike Hoolboom’s Letters from Home (1996)



From: FrameWorks  on behalf of Margaret 
Rorison 
Sent: Saturday, March 18, 2017 10:43 AM
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] Eulogy Films

Dear Film Friends,

I am curious about film eulogies and would love to know more films that have 
been made to honor someone. For example, Nathaniel Dorsky's August and After

I am looking for short films in particular.

Poetic gestures of goodbye, final notes, odes...

thank you,
Margaret Rorison

---
http://margaretrorison.com/
[http://payload498.cargocollective.com/1/5/185701/12263056/prt_1481255198.jpg]

Margaret Rorison
margaretrorison.com
One Document for Hope . Funes el memorioso. vindmøller


http://sightunseenbaltimore.com/
Sight Unseen
sightunseenbaltimore.com
5/30 - Arab Experimental Films: Reflections on Situated Time . 4/6 - The Body 
Extended: Works by Scott Stark . 12/14 - 52nd Ann Arbor Film Festival Tour




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Re: [Frameworks] Eulogy Films

[Carl E Bogner]

Michele Pearson Clarke’s  “All That is Left Unsaid”


(Er, but were you asking after film work in particular...)


From: FrameWorks  on behalf of Ken 
Eisenstein 
Sent: Saturday, March 18, 2017 10:59 AM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Eulogy Films

Gloria!
Sirius Remembered

On Sat, Mar 18, 2017 at 11:50 AM, LJ Frezza 
mailto:ljfre...@gmail.com>> wrote:
I recently caught Sky Hopinka's I'll Remember You as You Were, not as What 
You'll Become. Defintely worth checking it out if you haven't seen it.
-LJ

On Mar 18, 2017, at 10:43 AM, Margaret Rorison 
mailto:margaret.b.rori...@gmail.com>> wrote:

Dear Film Friends,

I am curious about film eulogies and would love to know more films that have 
been made to honor someone. For example, Nathaniel Dorsky's August and After

I am looking for short films in particular.

Poetic gestures of goodbye, final notes, odes...

thank you,
Margaret Rorison

---
http://margaretrorison.com/
http://sightunseenbaltimore.com/

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Re: [Frameworks] Exemplary Sound Design in AG Film

[carl]

How about a lot of the work by the folks over at the Sensory Ethnography
Lab, especially those involving Ernst Karel? (Leviathan, Sweetgrass..)

https://sel.fas.harvard.edu/index.html

 

Carl

 

 

 

From: robert harris [mailto:lagonab...@gmail.com] 
Sent: Monday, May 16, 2016 1:43 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] Exemplary Sound Design in AG Film

 

Thanks for the response Fred. Somewhere in in the recesses of my mind I
thought of you when posting the question, a. because for decades I've
respected your insights, and b., because one of your most memorable posts
contained your statement (at least this is how I remember it.) that
Beethoven's Grosse Fuge is a definitive avant garde work.  A smile inducing
and welcome statement in the context of Frameworks.

 

As to anonymity, community and the internet, I prefer my community to
involve warm bodies sharing tangible space. Not to say the I don't
appreciate Frameworks, I do. And it's fascinating and heartening to know
that there are disembodied consciousnesses out there that profess to care
about something I believe I care about. But this is no fun to type about
abstractly. 

 

So, I'm Robert Harris. I live in greater Boston. I teach filmmaking (actual
16mm bolex/arri filmmaking in addition to digital video that everyone seems
to think should be called film) at Fitchburg State University in central
Massachusetts. I used to be involved with Anthology Film Archives Video
Program in 70's and 80's.

The program for which I'm planning a sound design component is the New York
State Summer School of the Arts.  Its a program I've run for 25 years,
having inherited it from Gerald O'Grady.

A few lurking frame workers have taught with me and/or been visiting
artists. Maybe even some former students out there. Tony Conrad taught in
the program under O'Grady. Sharits probably had a bit to do with the program
moving to my care. The program is for high school students.  We teach 16mm
film, digital video, digital photo, computer animation, and electronic
sound.  Watching healthy amounts of experimental film, from 16mm prints, has
always been an essential part of the program.

 

So that's that.

I appreciate the suggestions that have been offered, though I've not yet
found what I'm hoping for in the preliminary samplings I've been able to
view and hear.

So many works have music tracks, orchestral music, jazz, electronic music,
pop.sometimes with narration.  Sometimes the music is great, sometimes it's
lacking, but my search is for sound design that reaches farther or deeper
than sound track music. I enjoyed re-watching The End  but it's "just" text
and music.  Invocation of My Demon Brother  is "just" Mick Jagger's
electronic noodlings on a MOOG.  Robert Withers just posted that Abigail
Child's work is worthy, and I agree.  A title I didn't mention earlier is
Robert Gardner's Forests of Bliss.  Deborah Stratman frequently does great
sound work.  

I'm just hopeful that I learn that there is more really rich stuff out
there.  Sound is pretty wonderful.  

 

Robert Harris

 

 

 

 

On May 15, 2016, at 9:10 PM, Fred Camper mailto:f...@fredcamper.com> > wrote:





Why not tell us your name, location, and the name of the school?

FraneWorks doesn't feel like much of a community anymore. Or maybe I'll just
never get used to Internet anonymity, fine on some sex advice board but to
me not right for a place like this.

To be contrary, I'd suggest Christopher Maclaine's The End and The Man Who
Invented Gold. They are very great films, in my view but not in everyone's,
with great soundtracks that do not meet your criteria, but they are not
"strictly intellectual" either -- far from it. Made with minimal means, they
might seem amateurish to someone who hated them.

Then there's my favorite Bruce Baillie sound track, the one for Tung. But
check into what i mean before renting the film.

Fred Camper, Chicago

On 5/15/2016 2:36 PM, lagonaboba wrote:

For a class I'm preparing, I'm interested in suggestions as to Experimental
Films with exemplary, excellent sound design and sound editing. 

By excellent I mean, complex, layered, inventive, of rich and nuanced
timbre..excellent for it's sonic qualities (as opposed to strictly
intellectual qualities).

As I plan to rent prints, it would be helpful if the works were available
from FMC, Canyon, MOMA or some USA domestic distributor.

I would include:

 

Baillie's Castro Street  & Quick Billy, 

Kubelka's Unsere Afrikareise, 

Hindle's Watersmith

Jack Chambers' Hart of London

 

Thanks.

 

 






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Re: [Frameworks] help identifying this film tank

[carl]

Thanks, Todd – that’s really helpful! It does seem like one could figure out 
something using rewinds. I notice one difference between the loaders is that on 
mine the end of the center axle ends with a pulley wheel. Which makes me think 
there was another part to it that would turn the belt. maybe?

 

Anyway, thanks for your help!

 

Carl

 

From: todd eacrett [mailto:hell...@agit-prop.com] 
Sent: Thursday, May 12, 2016 3:33 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] help identifying this film tank

 

 

Hi Carl,

 

Here's a link to some photos of the loader:

 

https://www.dropbox.com/sh/uxtk8fn768753yr/kO5KwtzU6NkKQkw2YwM3a?dl=0

 

Not sure if I've set it up correctly, or there aren't parts missing, but it 
works. I'm sure you could rig something up with rewinds and a rod to guide the 
film in at the right angle.

 

Looking at the tanks, I think one of them originally had the centre tube but 
it's been removed and the hole brazed up with a metal patch. They sat in the 
original owner's basement since the 70s, when he did light shows and film loops 
for psychedelic bands. 

 

Cheers,

 

Todd

 



On Thu, 12 May 2016 11:39:31 -0400, Carl Lee mailto:c...@termite.org> > wrote:

Thanks, Todd — I’d love to see a picture. You can send it to me off-list if 
you’d like: c...@buffalo.edu… Am I understanding you correctly — on your 
set-up, there’s no lid for the three tanks?

 

Carl

 

 

From: todd eacrett mailto:hell...@agit-prop.com> >
Reply-To: Experimental Film Discussion List mailto:frameworks@jonasmekasfilms.com> >
Date: Thursday, May 12, 2016 at 12:59 AM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] help identifying this film tank

 

 

There was a loader for these, a rather substantial device to hold the weight of 
the reel while winding the film on. I can take a photo of mine if you want to 
see how it works. 

 

I have the reel, loader and three nesting tanks. Not daylight tanks, just dip 
and dunk in a darkroom. I've never seen that lid part, but I suspect the tube 
is for an agitation crank.

 

 

 

Todd Eacrett

 



On Wed, 11 May 2016 23:21:42 -0400, Carl Lee mailto:c...@termite.org> > wrote:

What I forgot to mention also was that the circle with the Nikor brand is 
raised slightly off the surface — for drainage? I’ll definitely try loading 
some film. But I kinda would think there must be some other loading device 
because it’s really pretty heavy and unwieldy. Thanks for your insights, Scott 
and Jeff!



Carl


On 5/11/16, 5:59 PM, "Scott Dorsey" mailto:klu...@panix.com> 
> wrote:

>Are you sure the tube isn't a drain tube that goes on the bottom of the tank
>and the concentric stuff isn't a light lock to allow liquid to go into the top?
>
>It looks complete to me except for maybe a valve for the drain. There might be
>a loading frame but it might just be loaded by hand. You could try loading it
>with some junk print.
>--scott
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  _  


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Re: [Frameworks] help identifying this film tank

[Carl Lee]

Thanks, Todd — I’d love to see a picture. You can send it to me off-list if 
you’d like: c...@buffalo.edu… Am I understanding you correctly — on your 
set-up, there’s no lid for the three tanks?

Carl

From:  todd eacrett 
Reply-To:  Experimental Film Discussion List 
Date:  Thursday, May 12, 2016 at 12:59 AM
To:  Experimental Film Discussion List 
Subject:  Re: [Frameworks] help identifying this film tank

 

There was a loader for these, a rather substantial device to hold the weight of 
the reel while winding the film on. I can take a photo of mine if you want to 
see how it works. 

 

I have the reel, loader and three nesting tanks. Not daylight tanks, just dip 
and dunk in a darkroom. I've never seen that lid part, but I suspect the tube 
is for an agitation crank.

 

 

 

Todd Eacrett

 



On Wed, 11 May 2016 23:21:42 -0400, Carl Lee  wrote:
What I forgot to mention also was that the circle with the Nikor brand is 
raised slightly off the surface — for drainage? I’ll definitely try loading 
some film. But I kinda would think there must be some other loading device 
because it’s really pretty heavy and unwieldy. Thanks for your insights, Scott 
and Jeff!



Carl


 On 5/11/16, 5:59 PM, "Scott Dorsey"  wrote:

 >Are you sure the tube isn't a drain tube that goes on the bottom of the tank
 >and the concentric stuff isn't a light lock to allow liquid to go into the 
 >top?
 >
 >It looks complete to me except for maybe a valve for the drain. There might be
 >a loading frame but it might just be loaded by hand. You could try loading it
 >with some junk print.
 >--scott
>___
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Re: [Frameworks] help identifying this film tank

[Carl Lee]

What I forgot to mention also was that the circle with the Nikor brand is 
raised slightly off the surface — for drainage? I’ll definitely try loading 
some film. But I kinda would think there must be some other loading device 
because it’s really pretty heavy and unwieldy. Thanks for your insights, Scott 
and Jeff!



Carl


On 5/11/16, 5:59 PM, "Scott Dorsey"  wrote:

>Are you sure the tube isn't a drain tube that goes on the bottom of the tank
>and the concentric stuff isn't a light lock to allow liquid to go into the top?
>
>It looks complete to me except for maybe a valve for the drain.  There might be
>a loading frame but it might just be loaded by hand.  You could try loading it
>with some junk print.
>--scott
>___
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[Frameworks] help identifying this film tank

[carl]

Hi Frameworks, 

 

I’m wondering if anyone knows anything about what looks to me like a film 
developing tank. I’ve posted pictures here:

http://mediastudy.buffalo.edu/10090-2/

 

What you can’t really see in the pictures is that the bottom of the tank 
actually has 3 concentric tank bottoms, each a little larger than the other. 
The top part of the tank (the one with the tube sticking out of it) only fits 
on the innermost tank. You can kind of see it in the last photo. Also, it’s 
pretty big – about 17” diameter…. It seems like there should be other parts to 
it? Or?

 

Thanks in advance for any help!

 

Carl Lee

Buffalo, NY

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Re: [Frameworks] Giuseppe,s birds @ 2016 DOCM VISON DU REEL

[carl]

I think this is the correct link:

https://www.visionsdureel.ch/media-film/film/show/giuseppes-birds

 

c.

 

From: Elizabeth McMahon [mailto:elizmcma...@gmail.com] 
Sent: Sunday, April 17, 2016 5:18 AM
To: Fabienne Gautier ; Experimental Film Discussion 
List 
Subject: Re: [Frameworks] Giuseppe,s birds @ 2016 DOCM VISON DU REEL

 

Dear Fabienne,

 

Clicking on the link say, "sorry, this page doesn't exist." I want very much 
for it to exist!

 

See screen shot.

 

All My Best, 

Elizabeth McMahon




 

Elizabeth

 

On Sun, Apr 17, 2016 at 5:08 AM, Fabienne Gautier mailto:gautier.fabie...@free.fr> > wrote:






GIUSEPPE'S BIRDS @ 2016 DOC OUTLOOK INTERNATIONAL MARKET


 

 View this email in your browser 




 

 






  

 ‪GIUSEPPE'S BIRDS selected for the Media Library of the  


 Film Festival in Nyon,  Switzerland  



  

 https://www.visionsdureel.ch/media-film/film/show/giuseppes-birds




Visions du Réel
Festival International de cinéma Nyon
DOC OUTLOOK INTERNATIONAL MARKET
Place du Marché 2, 1260 Nyon, Suisse
T   +41 22 365 22 62
 




 

 

 







 

 

 


 

 

 


 

 

 


 

 

 


 

 

 


 

 

 



Copyright © 2016,Fabienne Gautier All rights reserved.




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  gautier.fabie...@free.fr

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Re: [Frameworks] Swings

[Carl E Bogner]

Oh, more jungle gym than swings, sure, but the crows do also collect across a 
swing set before attacking the school children in Hitchcock's "The Birds."


Carl
Milwaukee


From: FrameWorks  on behalf of Claire 
Henry, Curatorial 
Sent: Tuesday, March 8, 2016 4:43 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Swings

Speaking of Kazan, the glove scene in "On the Waterfront" partially takes place 
on swings.

Claire

Claire K. Henry
Assistant Curator, The Andy Warhol Film Project
Whitney Museum of American Art
99 Gansevoort Street
New York, NY  10014
tel:  212 570 7740
fax:  212 570 7749

From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of Alex 
Lake [stagnantp...@gmail.com]
Sent: Tuesday, March 08, 2016 5:16 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Swings

Kazan's East of Eden immediately leaps to mind...

http://youtu.be/2uG4PRf6ROM
[https://i.ytimg.com/vi/2uG4PRf6ROM/hqdefault.jpg]<http://youtu.be/2uG4PRf6ROM>

East Of Eden scene<http://youtu.be/2uG4PRf6ROM>
youtu.be
Cal Trask is dealing with the issue of always being in his brothers shadow, and 
seeking the love of his father.



On Tue, Mar 8, 2016 at 5:09 PM Surbhi Goel 
mailto:surbh...@gmail.com>> wrote:
Mahal, 1949

On Wed, Mar 9, 2016 at 1:47 AM, Gene Youngblood 
mailto:ato...@comcast.net>> wrote:
Friends, I need recommendations of memorable swing scenes (as in playground 
swings), preferably in narrative feature films. I already have Charulata and 
Ikiru. Thanks.
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Re: [Frameworks] Eclipse on film

[Carl E Bogner]

How about:

Joseph Cornell’s "Rose Hobart”  (1936)
Apichatpong Weerasethakul’s “Syndromes and a Century” (2006)


Carl
Milwaukee


From: FrameWorks  on behalf of John 
Warren 
Sent: Tuesday, February 9, 2016 7:28 AM
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] Eclipse on film

I have a question—can you think of any experimental films or videos that 
feature a solar eclipse specifically or other astronomical event?

peace, jw
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Re: [Frameworks] Loop Collective 20th Anniversary CelebrationScreenings & Book Launch

[Carl E. Brown]

Hi Dan,

Congratulations on all the doings ... very exciting and I wish you nothing but 
the best in the screening.

Cheers

Carl


From: dan browne
Sent: Wednesday, January 06, 2016 4:42 PM
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] Loop Collective 20th Anniversary CelebrationScreenings & 
Book Launch


Loop Collective 20th Anniversary Screenings & Book Launch



SCREENING & BOOK LAUNCH:
Thursday, February 4th, 2016 - 7-10pm
Innis Town Hall, 2 Sussex Ave., Toronto




MEMBERS RETROSPECTIVES:
Thursday, January 14th, 2016 - 8-10pm
Trinity Square Video, 401 Richmond St. W., Suite 376, Toronto


Sunday, January 17, 2016 - 8-10pm

CineCycle, 129 Spadina Ave. (down the laneway), Toronto


Thursday, January 21st, 2016 - 8-10pm
Trinity Square Video, 401 Richmond St. W., Suite 376, Toronto


All events are free and open to the public!




The Loop Collective is pleased to celebrate our 20th anniversary this year with 
a series of events designed to highlight our collective's history and 
development. Since our inception in 1996 with four members, Loop has 
contributed a significant role to Toronto's experimental filmmaking community 
through many programming endeavours and touring events from our 30+ cumulative 
members over the course of the past two decades.


We invite you to join us on Thursday February 4, 2016, at Innis Town Hall, for 
the launch of a newly self-published monograph, featuring essays by Kelly Egan, 
Izabella Pruska-Oldenhof, R. Bruce Elder, Kathryn Elder, and a chart by John 
Porter, alongside posters, photographs and artist pages. This limited edition 
publication will be available with our recent DVD,Selected Works by the Loop 
Collective, distributed via CFMDC and Re:Voir.


The launch will be accompanied by a screening of recent works on 16mm, 35mm and 
video from our members that will include several Toronto premieres and a Q&A 
with artists in attendance, featuring new and recent works by Stephen Broomer, 
Dan Browne, Colin Clark, Kelly Egan, Angela Joosse, Erika Loic, Shana 
MacDonald, Ajla Odobasic, Izabella Pruska-Oldenhof, Jocelyn Statia, and Ty 
Tekatch.


In addition, Loop will present three evenings of retrospective screenings of 
our members' works in anticipation of the Innis Town Hall launch. We encourage 
you to join us for these unique events that will offer an unparalleled glimpse 
into the artistic development of these filmmakers, viewing works on their 
original intended formats in an intimate screening environment:


#1 –
THURSDAY JANUARY 14, 8-10pm
at TRINITY SQUARE VIDEO, 401 Richmond St, Suite 376
Films & videos by Ajla Odobasic, Stephen Broomer, Jocelyn Statia & Izabella 
Pruska-Oldenhof.


#2 –
SUNDAY JANUARY 17,  8-10pm
at CINECYCLE, 129 Spadina Ave. (down the laneway)
Films & videos by Ilana Gutman, Shana MacDonald, Kelly Egan, & Colin Clark -- 
featuring a live performance by FLEISCHMOP.


#3 –
THURSDAY JANUARY 21, 8-10pm:
at TRINITY SQUARE VIDEO, 401 Richmond St, Suite 376
Films & videos by Ty Tekatch, Angela Joosse, Erika Loic & Dan Browne.




Facebook event page: https://www.facebook.com/events/1658053954483916/


For further details and press info, please contact Dan Browne: 
d...@danbrowne.ca.






The Loop Collective is a group of independent media artists formed in 1996 to 
develop a public platform integrating experimental film and video with other 
art forms. We program and produce works for presentation through exhibitions 
and events in both traditional and non-traditional spaces. Our mission is to 
explore the roots of experimental film and video by creating a dialogue with 
other art media. We strive to promote experimental film and video for critical 
engagement by cultivating relations among different artistic communities. Loop 
has presented gallery installations, screenings, and artist talks by renowned 
figures including Michael Snow, Carl Brown, Chris Welsby, Christian Lebrat, 
Double Negative Collective, Richard Kerr, R. Bruce Elder, Carolee Schneemann, 
and Jósef Robakowski. Programmes of films by Loop members have screened at 
venues including The National Film Board of Canada (Toronto), Cinema Parallele 
(Montreal), WNDX Festival of Moving Image (Winnipeg), NASCAD (Halifax), TRUCK 
Gallery (Calgary), Cineworks (Vancouver), Factory Media Center (Hamilton), 
Leeds International Film Festival (UK), and the 2010 Canadian Retrospective at 
EXiS Festival (Seoul).



www.loopcollective.com | Like us on Facebook




Loop gratefully acknowledges the support of the Ontario Arts Council, Canada 
Council for the Arts, CFMDC, Innis College and the Cinema Studies Institute 
(University of Toronto), in providing generous assistance to make these events 
possible.






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Re: [Frameworks] Titles of scratch films

[Carl E Bogner]

Tess, hi -


I had a colleague in the Film Department, recently transplanted to Ann Arbor, 
who wouldn't let a frame of her film go through the gate unless she had 
scratched on it.


I overstate but Naz Dincel's practice relentlessly involves scratching on her 
film -- or, that is to say, involves relentless scratching. Her film "Her 
Silent Seaming" -- to cite an example -- was a Jury Award winner at FLEX this 
year and also screened at Images, among other places.


(I think she has her ear to the ground so she may respond to you off-list? Naz, 
contact Tess.)


Also there is that propositional film that Frampton talked about in "A 
Lecture," its constantly inscribed scratch transplanting what the film is about 
from "Lana Turner" to that very scratch, if I recall correctly.


What's with Roger Beebe's premature fatigue? Man!


Carl

Milwaukee





From: FrameWorks  on behalf of Tess 
Takahashi 
Sent: Tuesday, August 25, 2015 2:08 PM
To: Experimental Film Discussion List
Subject: [Frameworks] Titles of scratch films

I'm doing something on films that employ scratching directly on celluloid like 
Brakhage's Chinese Series, David Gatten's Fragrant Portals..., Dona Cameron's 
World Trade Alphabet, Barbel Neubauer's work, Pierre Hebert's work, Storm 
DeHirsch's Peyote Queen, and Len Lye's Free Radicals.

What am I missing? Old and New?

Bonus points it it's set to African drums...


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Re: [Frameworks] Kid-friendly films?

[Carl E Bogner]

Dan,

One of the best things I have been able to see this year was the Saturday 
morning cartoon 16mm program that EYEWORKS presented at Jesse Malmed's 
LIVE-TO-TAPE FESTIVAL in Chicago this last May.

The program was entitled "Make Me Psychic" and featured films by Sally 
Cruikshank, Kathy Rose, Trixy Sweetvittles, and Amy Lockhart. Some of the 
prints -- the Cruikshank and the (sublime) Rose films -- were, I think, from 
the holdings of Chicago Filmmakers, do I have that right?

I was smacked out on all of the free breakfast cereals provided and am old, but 
I thought it was all a delight, giddy and transcendent, of possible interest to 
your programming. Psychedelic/trippy presented, understood, as also 
kid-friendly?

Details on the LIVE-TO-TAPE program here:
https://www.facebook.com/events/837281176348961/

Eyeworks Festival of Experimental Animation
http://eyeworksfestival.com

Chicago Filmmakers Film Distribution Project
http://www.chicagofilmmakers.org/membership-filmmaker-services/film-distribution-project


Carl
Milwaukee



From: FrameWorks  on behalf of Rob 
Gawthrop 
Sent: Monday, July 13, 2015 8:54 AM
To: elizabeth mcmahon; Experimental Film Discussion List
Subject: Re: [Frameworks] Kid-friendly films?

 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 
mailto: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 mailto:bcfilmf...@gmail.com>>
To: Experimental Film Discussion List 
mailto: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] Musical Noir?

[Carl Bogner]

Abigail Child's Mayhem

Dennis Potter's work. 
(Pennies From Heaven, I'm thinking.)


Sent from my iPhone

> On Jun 20, 2015, at 4:53 PM, Michael Zryd  wrote:
> 
> Janie Geiser’s Immer Zu
>> On Jun 18, 2015, at 11:10 PM, Shashwati Talukdar  wrote:
>> 
>> I am looking for examples of the use of music and songs in films that can be 
>> described as noir. Where music plays an integral role in moving the film 
>> along. Mainstream examples also welcome.
>> 
>> -- 
>> regards,
>> 
>> Shashwati Talukdar
>> 夏雪莉
>> ---
>> 
>> 
>> ___
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> 
> Michael Zryd • Associate Professor 
> Department of Film
> School of the Arts, Media, Performance & Design
> 
> YORK UNIVERSITY 
> CFT 236 • 4700 Keele Street 
> Toronto ON • Canada M3J 1P3
> T 416.736.2100 ext 22173 F 416.736. 5710 / cell: 647-430-8680 / Skype: mjpzryd
> z...@yorku.ca • http://ampd.yorku.ca/about-us/our-faculty/michael-zryd • 
> ampd.yorku.ca 
> 
> 
> 
> 
> This electronic mail (e-mail), including any attachments, is intended only 
> for the recipient(s) to whom it is addressed and may contain information that 
> is privileged, confidential and/or exempt from disclosure. No waiver of 
> privilege, confidentiality or any other protection is intended by virtue of 
> its communication by the internet. Any unauthorized use, dissemination or 
> copying is strictly prohibited. If you have received this e-mail in error, or 
> are not named as a recipient, please immediately notify the sender and 
> destroy all copies of it.
> 
> 
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Re: [Frameworks] Andrew Noren

[Carl E Bogner]

The concluding -- and personal favorite -- passage from that Andrew Noren / 
Scott MacDonald interview (in Critical Cinema 2) that Mr. Youngblood referred 
to earlier:


“The absolute best thing I’ve seen recently and certainly the most avant-garde 
was a lightning storm over southern New Jersey. It was so spectacular and 
sophisticated and surely one of the all-time great movies. It was incredibly 
powerful and intricate and intelligent and terrifying. It blasted us awake at 
two a.m. and we watched it through the black frame of the back door: vivid, 
intense, electric presentation of every last single detail of each bush, tree, 
leaf-of-grass. Vibrating out of absolute blackness in blinding, blue-white 
light, figure and ground switching places several times a second. Violent 
dimensional collisions, macroscopic magnification of the smallest things. Then 
everything vanishing into blackness so intense that the after-images were 
almost as strong as the original. And sound! Earth-shattering contrapuntal 
booms and blasts of such power I was sure the house would be blown away. I wish 
I could begin to describe it. It was wonderful, and as avant-garde is it gets. 
We were enchanted.”



Carl

Milwaukee



From: FrameWorks  on behalf of Steve 
Polta 
Sent: Monday, May 25, 2015 12:16 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Andrew Noren

Yes. Noren was an amazing filmmaker with an incredible body of work that threw 
done some serious aesthetic challenges and expressed, in purely visual terms, a 
very complex aesthetics-based philosophy that to me is incredibly deep and 
profound and still shakes me up to think about. I posted the following to 
facebook and paste it here too...

Today I learned that the great filmmaker Andrew Noren died a few weeks ago from 
cancer, age 72 (I think). For those who don't know, Noren's films were among 
the most visually intense and overwhelming films ever created. Noren was a 
master 16mm photographer, a master of capturing motion and a master of 16mm 
black & white (I never had the opportunity to see his color films but I'm told 
they were amazing as well). Noren's films tended to be long-form (30+ minutes) 
and were (the ones I've seen) relentless barrages of imagery—very fast cutting, 
incredible single-framing and time lapse—that only would pause for the briefest 
of moments. Generally (the films I've seen) shot in cities during the course of 
daily life, the films emphasize the passing of time and—in their speed and 
Noren's uncanny way of rendering solid forms as fragile and ephemeral—seem to 
be constantly concerned with not only passing time but the brevity of life. By 
the time I came to film, Noren—a contemporary and filmmaker-in-dialog-with 
Brakhage, Dorsky, Gehr and all those guys—had largely withdrawn his films from 
distribution and had done the (probably deliberate, although I don't know) slow 
fade into relative obscurity. Each rare screening of Noren's aggressive (if 
overwhelming) films was an occasion for ones personal sense of visuality (as 
well as filmmaking and film history) to be altered permanently, and for the 
better, in that these films feel like wake-up call jolts to the senses and made 
you feel exhileratingly alive (albeit in intense ways—given that they 
stressed—to me—the brevity of life and the non-reality of the physical world, 
they also really shook me up in ways that few other films have). His earlier 
films (which I've not seen) were attempts to document all aspects of his life 
on film and were—this is documented—the direct inspiration for DAVID HOLZMAN'S 
DIARY. It's really too bad that his films didn't screen more often but in later 
years Noren—a classic, intensely opinionated curmudgeonly filmmaker—did not 
make it easy. I was really glad to have seen him in person (and meet him 
briefly) at Pacific Film Archive in 2005 and to have screened IMAGINARY LIGHT, 
via San Francisco 
Cinematheque<https://www.facebook.com/sanfranciscocinematheque>, at SFMOMA in 
2012...

On Mon, May 25, 2015 at 9:42 AM, 
mailto:direc...@lift.on.ca>> wrote:
I can understand that. There was a moment in the early 2000s when Susan
Oxtoby brought some of his films (and him) to Toronto over the course of a
few years. I likely saw about 4 or 5 of his films over that period and
still think of them often. A quick description --- rich high-contrast
imagery, long point-of-view shots down pathways and evocative time lapses
of domestic spaces -- doesn't do them justice; there was something
especially stunning about the experience.

Chris

> Those of us who were there at the time can recall the excitement when a
> new film by Andrew was released. We anticipated them almost like we did
> the next Brakhage or Godard.

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Re: [Frameworks] Women working in Expanded Cinema

[Carl E Bogner]

Kellie Bronikowski
Sandra Gibson
Zoe Beloff


From: FrameWorks  on behalf of Amanda 
Christie 
Sent: Saturday, March 21, 2015 11:58 AM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Women working in Expanded Cinema

Kerry Laitala 



On 2015-03-21, at 1:48 PM, Kenneth Linehan wrote:

> I'd recommend adding Brittany Gravely & Tara Nelson to your list. Both 
> working of film & in expanded cinema context.
>
>
>> On Mar 20, 2015, at 1:04 PM, Alex Balkam  wrote:
>>
>> Hello Frameworks,
>>
>> At the Atlantic Filmmakers Cooperative where I work we are interested in 
>> inviting women working in the Expanded Cinema realm to join us as Visiting 
>> Artists for an Expanded Cinema program we are hoping to develop.
>>
>> I was interested to know if anyone on the list would like to recommend 
>> practicing Expanded Cinema artists, ideally women who work in the practice. 
>> We are primarily interested in artists working with celluloid film, as 
>> opposed to video mapping, etc.
>>
>> Thank you,
>>
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Re: [Frameworks] Derivés and City Symphonies

[Carl E Bogner]

?

Matt McCormick's _Subconscious Art of Graffitt Removal_, perhaps?




From: FrameWorks  on behalf of Eli 
Horwatt 
Sent: Sunday, March 1, 2015 5:44 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Derivés and City Symphonies

Hollis Frampton's Surface Tension

Wolf Vostell's Notstandbordstein sort of flips the derive - it turns the 
streets themselves into a screen - but the images are projected outside of a 
car, so it may not be appropriate. Youngblood talks about it in Expanded Cinema 
and there's a copy I believe at Filmmaker's Co-op.




On Sun, Mar 1, 2015 at 6:25 PM, Jason Halprin 
mailto:jihalp...@gmail.com>> wrote:
Off the top of my head, here are two that might fit:

Bruce Biaille - Castro Street
Richard Myers - Zocalo


Jason Halprin
jihalp...@gmail.com

On Sat, Feb 28, 2015 at 10:47 PM, Kelsey Velez 
mailto:kelsve...@hotmail.com>> wrote:
Framworkers,

I'm seeking suggestions for film based derivés, shot on 16mm or 8/s8mm. If you 
have an outstanding example of a video derivé to share, please feel welcome to 
do so. Anything in the vein of Tomonari Nishikawa's Market Street is ideal, but 
if you are particularly keen on a representational piece that does something 
interesting viz. the derivé, don't hold back.

kv

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Re: [Frameworks] Green and Orange Films

[Carl E Bogner]

?

Lewis Klahr's  "Green '62" (1996)




From: FrameWorks  on behalf of Benjamin 
Popp 
Sent: Saturday, January 31, 2015 2:39 AM
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] Green and Orange Films

I'm looking for films with a theme of the color Green or Orange.
Any ideas?
ben
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Re: [Frameworks] exp film orgs suggestions

[Carl E Bogner]

Also from Milwaukee, and maybe excluded initially as I was too beholden to an 
understanding of the categories queried about:

Milwaukee Underground Film Festival - which is working to do/host year-round 
outside-of-the festival (May 1-4) occasions.
http://film-milwaukee.org

- Original Message -
From: "Carl E Bogner" 
To: "Experimental Film Discussion List" 
Sent: Tuesday, March 11, 2014 6:06:49 PM
Subject: Re: [Frameworks] exp film orgs suggestions



Milwaukee:

Microlights
https://www.facebook.com/pages/Microlights/145321888972059

UWM Union Theatre’s
Experimental Tuesdays at the Union Theatre
http://www.aux.uwm.edu/union/union_theatre/


Woodland Pattern Book Center (occasional)
http://woodlandpattern.org


- Original Message -
From: "Huckleberry Lain" 
To: "Experimental Film Discussion List" 
Sent: Tuesday, March 11, 2014 5:29:41 PM
Subject: [Frameworks] exp film orgs suggestions



Hello friends 


I'm putting together a lecture for USC at the end of March and I'm organizing a 
list of micro-cinemas, exp film orgs and periodicals for young filmmakers to 
get to know. I'm mainly looking for organisations that are supportive of young 
filmmakers like Echo Park Film Center, but I'm also including some places they 
can go to watch important classics like PFA (I'm staying away from film 
festivals). Here's my current list (I know I'm forgetting a bunch): 




LA Filmforum 

Echo Park Film Center 

Academy Film Archive 

Anthology Film Archive 

Pacific Film Archive 

Millennium Film Workshop 

Artists Television Access 

Light Industry 

RedCat 

Harvard Film Archive 

MoMA 

Pittsburg Filmmakers 

Filmmaker’s Co-operative 

ABC No Rio 

Black Hole Cinematheque 

Lux Center for Film and Video Art 

CineWest 

MoCA 

Pasadena's Armory Center for the Arts 

SF Cinematheque 


OtherCinema 

iotaCenter 

CVM 

ReVoir 

Frameworks - hi-beam.com 

40 Frames 

Dublab 

Prelinger Archive 


OtherZine 

Millennium Film Journal 

Bomb! 

LA Record 


Thanks for your help! 



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Re: [Frameworks] exp film orgs suggestions

[Carl E Bogner]

Milwaukee:

Microlights
https://www.facebook.com/pages/Microlights/145321888972059

UWM Union Theatre’s
Experimental Tuesdays at the Union Theatre
http://www.aux.uwm.edu/union/union_theatre/


Woodland Pattern Book Center (occasional)
http://woodlandpattern.org


- Original Message -
From: "Huckleberry Lain" 
To: "Experimental Film Discussion List" 
Sent: Tuesday, March 11, 2014 5:29:41 PM
Subject: [Frameworks] exp film orgs suggestions



Hello friends 


I'm putting together a lecture for USC at the end of March and I'm organizing a 
list of micro-cinemas, exp film orgs and periodicals for young filmmakers to 
get to know. I'm mainly looking for organisations that are supportive of young 
filmmakers like Echo Park Film Center, but I'm also including some places they 
can go to watch important classics like PFA (I'm staying away from film 
festivals). Here's my current list (I know I'm forgetting a bunch): 




LA Filmforum 

Echo Park Film Center 

Academy Film Archive 

Anthology Film Archive 

Pacific Film Archive 

Millennium Film Workshop 

Artists Television Access 

Light Industry 

RedCat 

Harvard Film Archive 

MoMA 

Pittsburg Filmmakers 

Filmmaker’s Co-operative 

ABC No Rio 

Black Hole Cinematheque 

Lux Center for Film and Video Art 

CineWest 

MoCA 

Pasadena's Armory Center for the Arts 

SF Cinematheque 


OtherCinema 

iotaCenter 

CVM 

ReVoir 

Frameworks - hi-beam.com 

40 Frames 

Dublab 

Prelinger Archive 


OtherZine 

Millennium Film Journal 

Bomb! 

LA Record 


Thanks for your help! 



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[Frameworks] Technical advice in the Bay Area

[Carl Elsaesser]

Hey there experimental film world,

I was wondering if there was any film person in the bay area that would be
up for meeting up sometime and giving me some technical advice. I'm working
on a film, shooting 16mm with a bolex outfitted with a motor and 400ft
reel. With all the shifts and discontinuations in Kodak and Fuji, I feel a
little out of the loop. I'd buy the coffee or the alcohol...

Respond to my email elsaess...@gmail.com or to my phone: 207-607-2610


Much love,
carl
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Re: [Frameworks] Singularity and intentional incoherence

[Carl Lee]

Hi Ittai --

My memory is hazy, but I remember there's a Jane Campion film -- I think 
it might be The Piano, but possibly an earlier film than that -- where a 
girl is telling a story and it suddenly cuts to a short hand-drawn 
animation sequence.  It's the only moment in the film that's like that 
(the rest of the movie is "live-action") and it's never really explained 
why we're seeing it like this, though it does relate to the story the 
girl is telling.  (If I'm remembering correctly...it's possible I'm just 
imagining remembering it.but I'm sure others on fw would know for sure.)


Carl


On 1/23/2013 6:04 PM, Ittai Rosenbaum wrote:

Tom, Bryan, Roger

Thank you so much! The examples - of which I knew only one: "Blazing 
Saddles" - sound very interesting and relevant. I will check them all 
out and share any further information.


Ittai


On Wed, Jan 23, 2013 at 10:13 AM, Beebe, Roger <mailto:roge...@ufl.edu>> wrote:


Just to piggyback on/unpack Tom's mention of "Hapax
Legomena"--it's actually 7 films (that can be considered as one
larger unit).  The title refers to words that only appear once in
the written record, in an author's work, etc.  (In ancient texts,
this makes them especially difficult to decipher, as you might
imagine.)  So the title itself refers to singularity--you'll have
to take a look at the films, three of which are on the Frampton
Criterion set, to see if the films seem to speak to/embody that
concept.

...
Roger

On Jan 23, 2013, at 10:22 AM, Tom Whiteside wrote:


This is interesting – thanks for asking a fresh question. As a
“film person” who started out in music decades ago, I have always
envied and admired the breadth and depth of musicology. Film
studies is such a young field – we are centuries behind.
 Filmmaker Hollis Frampton made a film titled “Hapax Legomena”
which immediately comes to mind.
And although Mel Brooks doesn’t make this list too often, he’s
going to hit it twice right away. A good example of your singular
event would be in his Western film “Blazing Saddles,” the cowboys
are galloping across the plains and the movie music is playing on
the soundtrack, sounds like Count Basie and His Orchestra – well
my goodness, it IS Count  Basie and His Orchestra and the cowboys
just rode right past them, out there on the plains. It’s a simple
thing, played for laughs – the previously unseen soundtrack
orchestra revealed – but it is quite a singular moment.  And for
many people it probably changed, at least a little bit, the way
they think about “movie music.”
There is the moment in Jem Cohen’s “Lost Book Found” when the
conventional “unseen narrator” voice slowly fades out and is
replaced by a different, unexpected voice, delivering a more
cryptic message. It is a pivotal moment in that film. Similarly,
in Raul Ruiz’s “Hypothesis of the Stolen Painting” a guy is
sitting in a chair talking in rather flat tones, it becomes
increasingly boring, he slows down…. and he falls asleep. On
camera, the narration just goes to sleep. I only saw that film
once and am probably not remembering this correctly, but I do
remember the singularity of my experience sitting there,
listening to this guy, trying to make sense of it, getting a bit
bored, then watching him nod off. That woke me up!
Tom Durham Cinematheque
*From:*frameworks-boun...@jonasmekasfilms.com

<mailto:frameworks-boun...@jonasmekasfilms.com>[mailto:frameworks-boun...@jonasmekasfilms.com
<mailto:frameworks-boun...@jonasmekasfilms.com>]*On Behalf
Of*Ittai Rosenbaum
*Sent:*Wednesday, January 23, 2013 2:37 AM
*To:*frameworks@jonasmekasfilms.com
<mailto:frameworks@jonasmekasfilms.com>
*Subject:*[Frameworks] Singularity and intentional incoherence

Hi

My name is Ittai Rosenbaum, I am a doctoral student at the music
composition department at UCSC and in the process of defining my
Qualification Exams topics. I wondered if anyone could perhaps
have interesting knowledge or insights about a subject in film
theory that might parallel one of my topics.

I am interested in singular events in composition: events that
occur only once, contrasted and incoherent to the main musical
language of the work, yet deliberately conceived and
intentionally inserted in the composition, contributing, by way
of distraction and surprise, to the conception of the piece.

Coherence seems to constitute a compulsory element in
composition, and even incoherence (surprise, collage etc.) as it
happens in the music of, say, Charles Ives, George Crumb or John
Zorn, becomes coherent and even homogenous once it recurs. I
suspect that/singular/, incoherent events may ha

[Frameworks] MFA

[Carl Elsaesser]

Perhaps this is a touchy subject on this list, but I'd love to hear what
anyone has to say on the subject of film MFAs. I am just starting the
research phase of applying and any direction would be much appreciated.
There seems to be such a polemic between film schools geared towards
positioning students for industry jobs and film schools that focus more on
individual practice, conceptualization, experimentation... And while I'd
say I am way more on the later side, I'd certainly love to find a school
that has a good technical foundation. Other than that, I'm looking for a
school that offers working as a TA, or full rides... which seems harder and
harder to find And just to throw it out there, any thoughts on Berlin?

Sorry for the barrage of questions, but I figured who better to ask!

Thanks so much,

-- 
carl Elsaesser
207-607-2610
www.carlelsaesser.com

<http://www.youtube.com/user/camerac?feature=mhee>
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[Frameworks] blackout fabric as screen material?

[Carl Lee]

Hi Frameworkers -

Has anyone had experience using white blackout fabric as screen 
material?  It's for a 3-screen video installation and I was thinking 
about using it to cover a seam where two portable wall come together.  
I'm assuming I'd have to build a frame?  Also, I guess I'd have to have 
it for all three projections to make sure the brightness matches?

As I write this, I'm thinking it'd be simpler and cheaper to tape, 
compound, and paint the drywallBut I'd still appreciate any thoughts 
or experiences with blackout fabric!

Thanks,
Carl


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[Frameworks] Job posting -- Squeaky Wheel ED position extended to March 20

[Carl Lee]

Hi everyone --

fyi, I was asked to let you all know that the deadline for applications 
for the Squeaky Wheel Executive Director position has been extended to 
March 20, 2012.  Squeaky's an active, exciting media arts and access 
organization located in Buffalo, NY (an exciting, active media arts 
town!).  More info is here:

http://www.squeaky.org/opportunities/squeakywheelseeksexecutivedirector

Thanks,
Carl

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Re: [Frameworks] Digital Playback for Festivals, Etc.

[Carl Lee]

I would add that another very cool thing about the WD TV Live media 
players in particular is that some folks in the Netherlands have written 
open source software called HDSync that allows you to network multiple 
players for synchronized playback.  It takes a little tweaking (it's 
open source and you have to update the firmware on the players) and it 
helps to know some unix (I didn't, but got help and learned a tiny bit) 
but it's a great, CHEAP solution for synched, multi-channel 
installation-type situations.

This is their website if anyone is interested:
http://syncstarter.org/hdsync/

I used it for a 3-channel HD video (h.264 wrapped in quicktime) and it 
worked great.

Carl



On 2/25/2012 3:10 PM, David Tetzlaff wrote:
> Two quick comments on Jon's reply:
>
> 1. One of the advantages of the standalone media players such as the WD or 
> the Seagate FreeAgent Theater is that they will read hard drives in all the 
> major formats: NTFS (current PC), FAT (old PC), or HFS+ (Mac). Thus there 
> need be no issues with the FAT 4GB file limit.
>
> 2. Jon is indeed correct that the highest possible quality would come from a 
> computer (which could be a laptop) equipped with additional hardware that can 
> allow it to generate 'real video' HDMI/DVI or component out from 
> less-compressed formats such as AppleProRes422. The major players in this 
> sort of video hardware are AJA, Blackmagic Designs, and Matrox. The 
> Blackmagic Intensity Shuttle and the Matrox MX02 Mini are small, easily 
> transportable and relatively inexpensive ($200 - $500) interfaces that can 
> work with laptops, and would be worth considering for makers who travel with 
> their, would be bringing their laptops anyway, and can manage the modest 
> extra expense.
>
> For a stationary installation, (e.g. exhibitors) a Mac Pro or a Quad Core 
> Windows machine equipped with a standard PCIe Blackmagic Intensity card 
> ($200) would yield HD-video out about 'as good as it gets'. However, with any 
> computer, you get into limits dictated by the OS and the software: PCs won't 
> read Mac drives; Macs won't write to NTFS; Mac software tends not to like 
> .MKV containers, etc. Which means potentially more work on an exhibitor's end 
> converting submitted files into something that works well with the system. 
> But there's no perfect solution, and this would certainly be far superior to 
> trying to juggle a series of tape and disc physical formats, all requiring 
> different sorts of players.
>
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Re: [Frameworks] MOVE doc?

[Carl Lee]

Not sure if this is the one you're looking for, but there's a great doc 
by Louis Massiah called "The Bombing of Osage Avenue" from 1986.  It's 
been a while since I've seen it, but it focuses more on the effect MOVE 
and the bombing had on the community.  Here's a link:


http://scribe.org/catalogue/bombingosageavenue

Carl


On 2/13/2012 10:52 PM, ev petrol wrote:
trying to remember the name of a doc about MOVE in Philly that Stephen 
Kent showed at DUMBA years ago ... ring any bells?

cheers moira

www.moiratierney.net




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Re: [Frameworks] European cinemas who program and project 16mm films ??

[Carl Lee]

Hi Alain --

I'm sure there are others, but in Berlin, Germany there's Arsenal:
http://www.arsenal-berlin.de/index.php

Also, I don't think they have their own venue, but Labor Berlin is 
involved in programming 16mm:

http://laborberlin.wordpress.com/

Carl



On 1/20/2012 1:08 PM, 40 Frames wrote:


We'll try this again... thanks to those who responded on and off list.

Please, if you know of venues in Europe that program and project 16mm, 
particularly those venues not currently listed in 16mm Directory, let 
us know, as we would like to add them to the list.


16mmdirectory.org/exhibitors <http://16mmdirectory.org/exhibitors> 
(select by country to check current listings)


Current scope of listings focuses primarily on North America and we'd 
like to expand the listings.



Best,
Alain & Pam




On Thu, Jan 19, 2012 at 6:20 PM, 40 Frames <mailto:i...@40frames.org>> wrote:



We are in search of cinemas and venues in Europe that present
on-going programming of 16mm films outside of a festival context.
These venues
will be added to the Exhibitors listings of 16mm Directory -
http://www.16mmdirectory.org/exhibitors.

If you know of venues to add to the listings, please send info our
way. We appreciate your assistance.


Best,
Alain LeTourneau
Pam MInty


-- 
40 FRAMES

Alain LeTourneau
Pam Minty

40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA

+1 503 231 6548 
www.40frames.org <http://www.40frames.org>
www.16mmdirectory.org <http://www.16mmdirectory.org>
www.emptyquarterfilm.org <http://www.emptyquarterfilm.org>




--
40 FRAMES
Alain LeTourneau
Pam Minty

40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA

+1 503 231 6548
www.40frames.org <http://www.40frames.org>
www.16mmdirectory.org <http://www.16mmdirectory.org>
www.emptyquarterfilm.org <http://www.emptyquarterfilm.org>



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[Frameworks] non-profit sponsorship for applying for grants!

[carl elsaesser]

Hey workers,
I am trying to get several grants for a new film I am developing, but most
of the applications require non-profit status or partnership. I was
wondering if anyone knows of a non-profit film organization that I could
team up with so I could apply for these grants. I would work out some sort
of deal to cut the board a part of the check. I am located in San
Francisco, but I am not sure that matters... If any one has any advice or
could point me towards an organization that could help out it would be much
appreciated.

I plan on living over the next year or so with several facebook, googlers
and a variety of other start up web based executives and their families ( I
have already gotten permission from several people). I am fascinated with a
life that is so invested in an abstract and infinite space. How has this
lifestyle changed the poetic web of associations in these families. What is
intimacy now? How has this, and to a larger extent non-privacy and the
internet in general, play into how someone engages with nature. What is a
forest now?  How is language used and where does perspective lie when
someone invests so much time creating these two online.

Some of the people I would be living with develop the invisible functions
that limit and streamline our everyday internet use, from the push for
localizing personal internet searches so that the internet 'gets to know
you' to defining large masses of people on patterns that confuse individual
identity with projections of identity.

Most importantly this project will remain more as poetry than documentary,
churning and pulling apart some of these tensions as opposed to observing
as a static web-camera does. In order to address these ideas I have started
to collaborate with several dancers and other experimental film-makers
improvising and exploring different processes on going about this project.
And before I actually start production I'll need some financial support.

Thanks for any advice or criticism!

Too much love,

-- 
cArl Elsaesser
207-607-2610
www.carlelsaesser.com
Please consider supporting the newest film. We don't need much and every
little bit helps tremendously! check out our kick starter page below.
http://www.kickstarter.com/projects/847532739/not-a-memory-something-personal?ref=email
<http://www.youtube.com/user/camerac?feature=mhee>
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Re: [Frameworks] 16mm camera repair & parts

[Carl Lee]

Hi Cathy et al --

I just spoke with Dieter at Pro Cam and he says he's going strong and 
servicing Bolexes (Boli?) round the clock.  He was very surprised to 
hear news of his early retirement!  We use him here in Buffalo and he's 
been great.

Carl



On 10/18/2011 10:28 PM, ccr...@ithaca.edu wrote:
> hello frameworkers,
> in an effort to keep 16mm and the use of the bolex
> and aaton cameras alive at our institution, i am looking
> for any recommendations you have for other repair
> folks that would like to sign on our school account.
> is it true that both pro cam and chambless are winding
> down their repair work because of retirement?! we have 30
> cameras, 4 replacement spring motors and will
> need to replenish both supplies in the coming
> couple years. we also need someone (besides abel
> cinetech) who can help us with the electronics
> on our aatonLTRs. any and all recommendations welcome.
> i need artillery to counter support staff insurgency.
> many, many thanks,
> cathy
>
> cathy lee crane
> associate professor
> dept. of cinema, photography&  media arts
> park school of communications
> ithaca college
> 953 danby road
> ithaca, ny 14850
> (607) 274-1035
> http://faculty.ithaca.edu/ccrane/
> http://www.vimeo.com/cathyleecrane
> http://cathyleecrane.com
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Re: [Frameworks] Forbes editorial about Kodak

[Carl Worden]

Trollolololol

Sent from my iPhone

On Oct 3, 2011, at 6:41 PM, "Aaron F. Ross"  wrote:

> http://www.forbes.com/sites/daviddisalvo/2011/10/02/what-i-saw-as-kodak-crumbled/
> 
> 
> Once again, the old guard clings to obsolete business models and is 
> ultimately swept away by inevitable shifts in technology. The party's 
> winding down, folks. CDs, newspapers, and now analog film are going 
> the way of the wax cylinder. The canary in the coal mine dropped dead 
> about ten years ago, now the roof is about to collapse.
> 
> 35mm motion picture film will still keep hanging on for a few more 
> years, despite the fact that high-end digital cameras have now 
> surpassed the imaging quality of most 35mm film stocks. Anyone who is 
> unwilling to adapt to digital imaging had better start hoarding film 
> stock in their walk-in freezers. The day that HDR sensors become 
> affordable is the day that analog film unequivocably becomes more 
> trouble than it's worth. Sprocket holes seem increasingly quaint in a 
> world where exposure and depth of field can be entirely controlled in 
> *POST* with no loss of quality.
> 
> I'm not a hater, I'm just pointing out a reality that may be painful 
> for many on this list. Don't look to Fuji to save you, they're 
> ultimately headed for the dumpster as well. Starting up another 
> Impossible Project is a noble idea, but from what I've seen, these 
> handmade stocks can't compete with the real deal.
> 
> Aaron
> ---
> 
> Aaron F. Ross
> Digital Arts Guild
> 
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[Frameworks] Come see rare and beautiful films at Oddball 16mm Films (San Francisco) this Saturday October 1st<>!><<<

[carl elsaesser]

*“I Was Once an Angel with Thick Wings’: Cindy Collins”*. Oddball Films
guest curator
cArl Elsaesser explores the mind of Cindy Collins from these rare, personal
home movies and
her fascination with Angels. By combining the tape recordings she left
behind and her 16mm
silent films (color and B+W) with other filmmakers’ conceptions of Angels
this program weaves
together disparate conceptions of angels across multiple cinematic genres
including feature
films, experiment and animated shorts and television commercials.
Cindy documented her family from the 1940’s through the 1960’s capturing
both the awkward
moments of the extremely wealthy and a tender intimacy that unhinges the
images from
their time. Together with her amateur films and sound recordings we’ll
screen an excerpt
from Luis Buñuel’s infamous film “Exterminating Angel” (1962), animated
short “Night Angel”
(1988) produced by the National Film Board of Canada, “A Dream of Wild
Horses” (1962) the
landmark short film directed by Denys Colomb Daunant, and perhaps even some
Charlie’s
Angels commercials!
Date: Saturday, October 1, 2011 at 8:00PM.
Venue: Oddball Films, 275 Capp Street, San Francisco
Admission: $10.00 RSVP Only to: 415-558-8117 or i...@oddballfilm.com
Info: http://www.oddballfilm.com/oddballftp/Angel_PR.pdf


Too much love,
-- 
cArl Elsaesser
207-607-2610
www.carlelsaesser.com
http://www.youtube.com/user/camerac?feature=mhee
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[Frameworks] Moving to San Francisco

[carl elsaesser]

Hey, I just moved to San Francisco from Maine and I wanted to check out the
film community here. I would love any and all advice on organizing community
events, if there are non-profit organizations set up for experimental film
makers or of funding opportunities for young film-makers.

even if it is just for coffee I would love to hear what artists have been up
to here, and get a sense of collaboration possibilities.

Thanks and too much love,

-- 
cArl Elsaesser
207-607-2610
http://www.youtube.com/user/camerac?feature=mhee
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