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

[jimmyschaus1 .]

New Bobby Conn music video for his song "Disaster" is in this style (and is
quite the earworm): https://www.youtube.com/watch?v=u4mWuvQszCU

On Thu, Jun 25, 2020 at 11:20 AM Jorge Lorenzo Flores Garza <
jorgelore...@hotmail.com> wrote:

> I think Miranda July has done some of that quite often.  Maybe the early
> Joanie 4 Jackie stuff has that dynamic going on.
>
> --
> *De:* FrameWorks  en nombre de
> alena williams 
> *Enviado:* miércoles, 24 de junio de 2020 10:48 p. m.
> *Para:* Experimental Film Discussion List 
> *Asunto:* Re: [Frameworks] Films or videos with one person playing all
> the parts
>
> these are my favorites:
>
> https://melhus.de/das-zauberglas-the-magic-glass/
>
> https://melhus.de/again-and-again/
>
> On 24. Jun 2020, at 01:15, kris  wrote:
>
> Hi all,
>
>
> BJOERN MELHUS makes these films where he often uses an original score or
> dialog and re enacts all the speaking roles.
>
> https://melhus.de
>
> https://melhus.de/im-not-the-enemy/
>
> best, kris
>
>
> --
> www.krislimbach.com
>
> On 23.06.20 23:21, 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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>
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Re: [Frameworks] Experimental films on photography

[jimmyschaus1 .]

& several by Matsumoto Toshio...

*Engram *

*Shift *

*Song of Stone *

*Sway *



On Tue, Jun 9, 2020 at 6:01 PM Mark Toscano  wrote:

> Hi Albert - Gary Beydler's Hand Held Day doesn't really fit, as it's just
> a time lapse film, and no still images are rephotographed in it.
>
> There's also Sam Gurry's Winners Bitch, many by Takashi Ito, Dutchman's
> Photographs by Isao Kota, various films by Eriko Sonoda...
>
> An interesting inversion of this idea would be One Year Performance (Time
> Clock Piece) by Tehching Hsieh, for which he photo printed all of the
> frames from the 16mm documentation film in order to post them in the
> gallery space.
>
> Mark T
>
>
> On Tue, Jun 9, 2020 at 3:06 AM Albert Alcoz  wrote:
>
>> Hello all,
>>
>> I was making a list of experimental film practices on photography and I
>> was wondering if you could suggest more titles.
>>
>> At first I wanted to focus just on movies where photographs are deleted
>> (burned, destroyed) or denied but I only know *(nostalgia)* for Hollis
>> Frampton and the project *Found Monochromes* by David Batchelor (slides).
>> Does anyone know other films where the main purpose is the destruction
>> or the invisibility of photographs?
>>
>> On the other hand I have started a list of films made from photographs.
>> There are dozens of films (some of them animations) where the object of
>> analysis are still images, from filmed Polaroids to appropriation of
>> advertising images from magazines or the accumulation of digital images
>> found on the internet:
>>
>> *Transformation by Holding Time* by Paul de Nooijer
>> *Pasadena Freeway Stills* and *Hand Held Day* by Gary Beydler
>> *Production Stills* by Morgan Fisher
>> *Frank Film* by Frank Mouris
>> *Boy Meets Girl* by Eugènia Balcells
>> *Wall *by Takashi Ito
>> *Photodiary *by Takashi Ito
>> *Clandestine Porn Film* by Augustin Gimel
>> *DIES IRAE* by Jean Gabriel Périot
>> *The World as Will and Representation* de Roy Arden
>>
>> Do others come to mind?
>>
>> Thank you,
>> Albert Alcoz
>> --
>> http://albertalcoz.com/
>> ___
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Re: [Frameworks] Experimental films on photography

[jimmyschaus1 .]

&

James Kienitz Wilkins' *Indefinite Pitch*
Raul Ruiz's *Colloque de Chiens *

On Tue, Jun 9, 2020 at 8:38 AM Michael Betancourt <
hinterland.mov...@gmail.com> wrote:

> my movie, Postcard Film
>
>
> Michael
>
> mich...@michaelbetancourt.com
> Sent from my phone
>
> On Jun 9, 2020, at 6:06 AM, Albert Alcoz  wrote:
>
> 
> Hello all,
>
> I was making a list of experimental film practices on photography and I
> was wondering if you could suggest more titles.
>
> At first I wanted to focus just on movies where photographs are deleted
> (burned, destroyed) or denied but I only know *(nostalgia)* for Hollis
> Frampton and the project *Found Monochromes* by David Batchelor (slides).
> Does anyone know other films where the main purpose is the destruction or
> the invisibility of photographs?
>
> On the other hand I have started a list of films made from photographs.
> There are dozens of films (some of them animations) where the object of
> analysis are still images, from filmed Polaroids to appropriation of
> advertising images from magazines or the accumulation of digital images
> found on the internet:
>
> *Transformation by Holding Time* by Paul de Nooijer
> *Pasadena Freeway Stills* and *Hand Held Day* by Gary Beydler
> *Production Stills* by Morgan Fisher
> *Frank Film* by Frank Mouris
> *Boy Meets Girl* by Eugènia Balcells
> *Wall *by Takashi Ito
> *Photodiary *by Takashi Ito
> *Clandestine Porn Film* by Augustin Gimel
> *DIES IRAE* by Jean Gabriel Périot
> *The World as Will and Representation* de Roy Arden
>
> Do others come to mind?
>
> Thank you,
> Albert Alcoz
> --
> http://albertalcoz.com/
> ___
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Re: [Frameworks] Experimental films on photography

[jimmyschaus1 .]

Abbas Kiarostami's *24 Frames*

On Tue, Jun 9, 2020 at 7:28 AM FCDEP  wrote:

> Hello Albert,
>
> You might be interested by
> *Fotomatar* by Dominique Noguez
> *Post-digital Flipbook* by Pablo-Martin Cordoba
> *Le Speelberg Indien* & *Pas à Lille* by Eric Deneuville
> *H.E.H.* by Stéphane Deluermoz
> *24 clichés que j'ai occupé* & *Mur blanc Eau noire* by Daphné Le Sergent
> *Near and far, now and then* by Ken Kobland
> *Angel Beach* by Scott Stark (and many other of his works)
> *Rodez* by Stefano Miraglia
> *Polaroid versus Roman photo* by Yves-Marie Mahé
>
> Hope this will help you
>
> All best,
>
>
> Théo Deliyannis
>
> Administration & coordination générale
> COLLECTIF JEUNE CINÉMA
> c/o Commune Image
> 8, rue Godillot
> 
> 93400 Saint-Ouen - France
> 
> +33 (0)7 69 61 53 57 <+33%207%2069%2061%2053%2057>
> Website  | Newsletter
> 
> Facebook  | Twitter
>  | Vimeo
>  | Instagram
> 
>
> FESTIVAL DES CINÉMAS DIFFÉRENTS
> ET EXPÉRIMENTAUX DE PARIS
> 22e édition (octobre 2020)
> Facebook 
>
>
> Le mar. 9 juin 2020 à 12:48,  a
> écrit :
>
>> Send FrameWorks mailing list submissions to
>> frameworks@jonasmekasfilms.com
>>
>> To subscribe or unsubscribe via the World Wide Web, visit
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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. Experimental films on photography (Albert Alcoz)
>>2. Re: Experimental films on photography (Ingo Petzke)
>>3. Online class in experimental techniques starts in July!
>>   (Nicole Baker)
>>
>>
>>
>> -- Forwarded message --
>> From: Albert Alcoz 
>> To: Experimental Film Discussion List 
>> Cc:
>> Bcc:
>> Date: Tue, 9 Jun 2020 12:06:31 +0200
>> Subject: [Frameworks] Experimental films on photography
>> Hello all,
>>
>> I was making a list of experimental film practices on photography and I
>> was wondering if you could suggest more titles.
>>
>> At first I wanted to focus just on movies where photographs are deleted
>> (burned, destroyed) or denied but I only know *(nostalgia)* for Hollis
>> Frampton and the project *Found Monochromes* by David Batchelor (slides).
>> Does anyone know other films where the main purpose is the destruction
>> or the invisibility of photographs?
>>
>> On the other hand I have started a list of films made from photographs.
>> There are dozens of films (some of them animations) where the object of
>> analysis are still images, from filmed Polaroids to appropriation of
>> advertising images from magazines or the accumulation of digital images
>> found on the internet:
>>
>> *Transformation by Holding Time* by Paul de Nooijer
>> *Pasadena Freeway Stills* and *Hand Held Day* by Gary Beydler
>> *Production Stills* by Morgan Fisher
>> *Frank Film* by Frank Mouris
>> *Boy Meets Girl* by Eugènia Balcells
>> *Wall *by Takashi Ito
>> *Photodiary *by Takashi Ito
>> *Clandestine Porn Film* by Augustin Gimel
>> *DIES IRAE* by Jean Gabriel Périot
>> *The World as Will and Representation* de Roy Arden
>>
>> Do others come to mind?
>>
>> Thank you,
>> Albert Alcoz
>> --
>> http://albertalcoz.com/
>>
>>
>>
>> -- Forwarded message --
>> From: Ingo Petzke 
>> To: "'Experimental Film Discussion List'" > >
>> Cc:
>> Bcc:
>> Date: Tue, 9 Jun 2020 12:22:46 +0200
>> Subject: Re: [Frameworks] Experimental films on photography
>>
>> *Spacy* by Takashi Ito
>>
>>
>>
>> *** | Ingo Petzke | Alte Steige 17 | 97204 Höchberg | Germany | ph +49
>> 931 4049949 |mob +49 176 83733444  |***
>>
>>
>>
>> *Von:* FrameWorks  *Im Auftrag
>> von *Albert Alcoz
>> *Gesendet:* Dienstag, 9. Juni 2020 12:07
>> *An:* Experimental Film Discussion List 
>> *Betreff:* [Frameworks] Experimental films on photography
>>
>>
>>
>> Hello all,
>>
>> I was making a list of experimental film practices on photography and I
>> was wondering if you could suggest more titles.
>>
>> At first I wanted to focus just on movies where photographs are deleted
>> (burned, destroyed) or denied but I only know *(nostalgia)* for Hollis
>> Frampton and 

Re: [Frameworks] Processing KODAK Tri-X Reversal Film 7266

[jimmyschaus1 .]

I’ve been developing this film all night with success! Super fun.

Esther urlus made a cool manual with some useful info...
http://www.filmlabs.org/docs/toboldlygo.pdf

I myself was wondering if anyone knew how many times you can use 1L of d19
(using russian tanks that take 50 ft) before it becomes too weak?

Jimmy

On Wed, Nov 6, 2019 at 10:54 PM Alexis Apostolou 
wrote:

> Hi all!
>
> I am trying to develop around 35 feet of KODAK Tri-X Reversal Film 7266.
> The darkroom I have access to uses Sprint Standard Film Developer, and I am
> looking for some recipes for processing. Any ideas on recipes? Or any other
> helpful tips and tricks? This is my first time processing this film, so any
> and all info would be very welcome.
>
> Thanks, and so much appreciated,
> Alexis
>
>
>
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[Frameworks] multiple exposures on bolex

[jimmyschaus1 .]

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] examples of "first encounters"

[jimmyschaus1]

I'm a filmmaker working on a scene of this nature, and (among many other
sources of inspiration not explicitly related to cinema), it's helpful.
I've found this to be a good resource...it can yield surprises...such as
your inclusion of non-human animal (and mechanical) interaction in *Au
Hasard Balthazar *and *Mothlight.*

Jimmy

On Tue, May 14, 2019 at 7:09 PM Fred Camper  wrote:

> *Meshes of the Afternoon, *The woman and her double, the woman and the man
>
> *Fireworks* (Anger) The protagonist and the sailors
>
> *Window Water Baby Moving *(Brakhage), Stan and Myrrena, Jane and
> Myrrena, truly first encounters
>
> *Mothlight *(Brakhage), the moths and the film projector
>
> *Reverberation *(Gerh), the couple on the street
>
> *Adebar* (Kubelka), the dancing couple
>
> *The End* (Maclaine), the couple in the sixth episode
>
> *Au Hasard Balthazar *(Bresson), the donkey and the animals in the
> traveling zoo.
>
> Did I mention that I am not a fan of this sort of request, not the least
> because we rarely hear the reason for it.
> Fred Camper
> Chicago
>
>
> On 5/14/2019 9:38 AM, jimmyschaus1 wrote:
>
> Trusted Frameworkers,
>
> I am seeking examples of great "first encounters" between characters.  Two
> people seemingly pushed together by the universe sort of thing, perhaps
> generated by an accident, a coincidence, a glance, a moment of especially
> outgoing behavior...
>
> The golden torch-bearer I have in mind is the beginning of Rivette's *Celine
> and Julie Go Boating*, where a dropped pair of sunglasses leads to a wild
> chase through the streets and an ensuing magical partnership.
>
> Scenes which depict the seed of mysterious magnetism between two people.
>
> I realize scenes of this nature pop up in maybe every other movie you see,
> so just if anything really sticks out to you as a particularly novel or
> noteworthy example, that does something exciting formally...
>
> cheers
> Jimmy
>
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[Frameworks] examples of "first encounters"

[jimmyschaus1]

Trusted Frameworkers,

I am seeking examples of great "first encounters" between characters.  Two
people seemingly pushed together by the universe sort of thing, perhaps
generated by an accident, a coincidence, a glance, a moment of especially
outgoing behavior...

The golden torch-bearer I have in mind is the beginning of Rivette's *Celine
and Julie Go Boating*, where a dropped pair of sunglasses leads to a wild
chase through the streets and an ensuing magical partnership.

Scenes which depict the seed of mysterious magnetism between two people.

I realize scenes of this nature pop up in maybe every other movie you see,
so just if anything really sticks out to you as a particularly novel or
noteworthy example, that does something exciting formally...

cheers
Jimmy
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Re: [Frameworks] Walking theme

[jimmyschaus1]

Luke Fowler & Lee Patterson 565685981->565615566

When La Monte Young wrote Composition “1960 #10” on a 3×5 filing card, he
wrote what might be the most readily citational musical score in the
history of Western music: “draw a straight line and follow it.” Filmmaker
Luke Fowler and sound artist Lee Patterson interpret the instruction by
this influential minimalist composer quite literally. Registering things
they meet on their way, they make a ’straight’ journey through Ghent.

On Fri, May 3, 2019 at 2:50 PM PENNY MCCANN  wrote:

> And Joyce Weiland’s *Solidarity.*
>
> Penny McCann
>
>
> On May 3, 2019, at 8:38 AM, Scott MacDonald  wrote:
>
> *Hey Ron,*
>
> *And Snow's See You Later/Au Revoir, in a way.*
>
> *Didn't know about Nikki Swift--thanks for the heads-up!*
>
> *Best Regards,*
> *Scott*
>
> On Fri, May 3, 2019 at 8:31 AM Green, Ron Green  wrote:
>
>> Hi Scott,
>>
>> Michael Snow's "walking woman" stuff, e.g. *New York Eye and Ear Control*
>>
>> Frampton's cornfield film...
>>
>> and
>>
>> Nikki Swift's walking video projects:
>> https://www.nicolettecinemagraphics.com/videography/video-walkthroughs/
>>
>> There must be others...
>>
>> Best wishes,
>> Ron
>> Nicolettecinemagraphics - Video Walkthroughs
>> 
>> Video walkthroughs allow a buyer or patron to feel like they’ve seen a
>> location without leaving their house, saving you the time.
>> www.nicolettecinemagraphics.com
>>
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>
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Re: [Frameworks] Walking theme

[jimmyschaus1]

oh yeah, and Gus Van Sant's *Gerry*

On Fri, May 3, 2019 at 3:20 PM jimmyschaus1  wrote:

> Luke Fowler & Lee Patterson 565685981->565615566
>
> When La Monte Young wrote Composition “1960 #10” on a 3×5 filing card, he
> wrote what might be the most readily citational musical score in the
> history of Western music: “draw a straight line and follow it.” Filmmaker
> Luke Fowler and sound artist Lee Patterson interpret the instruction by
> this influential minimalist composer quite literally. Registering things
> they meet on their way, they make a ’straight’ journey through Ghent.
>
> On Fri, May 3, 2019 at 2:50 PM PENNY MCCANN 
> wrote:
>
>> And Joyce Weiland’s *Solidarity.*
>>
>> Penny McCann
>>
>>
>> On May 3, 2019, at 8:38 AM, Scott MacDonald 
>> wrote:
>>
>> *Hey Ron,*
>>
>> *And Snow's See You Later/Au Revoir, in a way.*
>>
>> *Didn't know about Nikki Swift--thanks for the heads-up!*
>>
>> *Best Regards,*
>> *Scott*
>>
>> On Fri, May 3, 2019 at 8:31 AM Green, Ron Green  wrote:
>>
>>> Hi Scott,
>>>
>>> Michael Snow's "walking woman" stuff, e.g. *New York Eye and Ear
>>> Control*
>>>
>>> Frampton's cornfield film...
>>>
>>> and
>>>
>>> Nikki Swift's walking video projects:
>>> https://www.nicolettecinemagraphics.com/videography/video-walkthroughs/
>>>
>>> There must be others...
>>>
>>> Best wishes,
>>> Ron
>>> Nicolettecinemagraphics - Video Walkthroughs
>>> <https://www.nicolettecinemagraphics.com/videography/video-walkthroughs/>
>>> Video walkthroughs allow a buyer or patron to feel like they’ve seen a
>>> location without leaving their house, saving you the time.
>>> www.nicolettecinemagraphics.com
>>>
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
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>>>
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>>
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Re: [Frameworks] Drone vision and violence in experimental film/video art

[jimmyschaus1]

Ouroboros (basma alsharif)

On Sun, Feb 24, 2019 at 7:08 PM Elena Duque  wrote:

> Samouni Road, by Stefano Savona, deals with an attack over Gaza with a
> drone footage recreation (and also with some very powerful animations).
>
> El sáb., 23 feb. 2019 20:57, Alex Lake 
> escribió:
>
>> Ross Meckfessel’s The Air of the Earth in Your Lungs has some pretty
>> interesting hobby-drone footage in it, def worth checking out.
>>
>> http://rossmeckfessel.com/Air%20of%20the%20Earth.html
>> On Sat, Feb 23, 2019 at 11:33 AM Robert Harris 
>> wrote:
>>
>>> Re: aerial surveillance, etc…
>>> Much of Harun Farocki’s work,   *War at a Distance; Images of the World
>>> and the Inscription of War*
>>> https://www.harunfarocki.de/films.html
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> On Feb 23, 2019, at 2:07 PM, Hugo Martin Alexander Ljungbaeck <
>>> ljung...@uwm.edu> wrote:
>>>
>>> Dear all,
>>>
>>> I am currently working on a research project that I am hoping will
>>> result in a curated program and/or essay. I am looking for experimental
>>> film and video art work that engages with, counters, or tries to reimagine
>>> relationships between UAVs, military violence and vision, the war on
>>> terror, aerial surveillance, hobby-drones, etc.
>>>
>>> If you have any recommendations, please feel free to reply-all or
>>> respond off-list.
>>>
>>> Thanks for your suggestions!
>>> Hugo
>>>
>>>
>>> Hugo Ljungbäck
>>> Undergraduate Research Fellow
>>> Department of English/Film Studies
>>> University of Wisconsin-Milwaukee
>>>
>>> Programmer | Milwaukee Underground Film Festival
>>> Director | UWM Film Studies Archive
>>> Founding Chair | UWM Moving Image Society
>>> http://www.hmal.se/
>>>
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Re: [Frameworks] Music in denis’ 35 rhums?

[jimmyschaus1]

Unbelievable, thank you!!! And what a great thing you’ve done with this
playlist.

On Fri, Dec 28, 2018 at 3:23 AM Darren Hughes  wrote:

> Here you go.
>
> "Can't Live Without You" by Sophia George
> https://www.youtube.com/watch?v=dIYGtlTHYJo
>
>
> Darren Hughes
>
>
> On Thu, Dec 27, 2018 at 6:54 PM Darren Hughes 
> wrote:
>
>> I can't remember exactly which songs you're referring to, but they're
>> probably on this playlist I made. I included every needle drop I could find
>> in each of her films.
>>
>>
>> https://open.spotify.com/user/longpauses/playlist/5thQDvdAxhKdUgFsQgze7Z?si=wT6gfn4XRp-78pvygdxB_A
>>
>> Darren Hughes
>>
>> On Thu, Dec 27, 2018 at 6:29 PM Francisco Torres 
>> wrote:
>>
>>> Philippe Bourorga music supervisor should know. He has a facebook
>>> account
>>>
>>> https://www.imdb.com/name/nm4381316/?ref_=ttfc_fc_cr70
>>>
>>> 2018-12-27 6:22 GMT-05:00, jimmyschaus1 :
>>> > Ok so it’s not experimental with a capital E but I’m desperate folks.
>>> > Figure there’s enough “crossover” knowledge here.
>>> >
>>> > Does anyone happen to know the sad reggae song Gabrielle from Claire
>>> Denis’
>>> > “35 Rhums” listens to 1.) while she eats soup in her cab at the
>>> beginning
>>> > of the film and 2.) when her and the other characters are driving to
>>> the
>>> > concert, and Lionel asks her to turn it down? It’s so so beautiful,
>>> and any
>>> > writing on music in the film is limited to the (albeit wonderful) use
>>> of
>>> > “night shift” by the commodores in the dancing scene at the bar. Thank
>>> > you!!
>>> >
>>> ___
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>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>> ___
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[Frameworks] Music in denis’ 35 rhums?

[jimmyschaus1]

Ok so it’s not experimental with a capital E but I’m desperate folks.
Figure there’s enough “crossover” knowledge here.

Does anyone happen to know the sad reggae song Gabrielle from Claire Denis’
“35 Rhums” listens to 1.) while she eats soup in her cab at the beginning
of the film and 2.) when her and the other characters are driving to the
concert, and Lionel asks her to turn it down? It’s so so beautiful, and any
writing on music in the film is limited to the (albeit wonderful) use of
“night shift” by the commodores in the dancing scene at the bar. Thank
you!!
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Re: [Frameworks] Autobiographical Films

[jimmyschaus1]

steve reinke's 100 videos:
http://www.myrectumisnotagrave.com/100videos/100videosplash.html

and to complicate it all, this:
http://www.myrectumisnotagrave.com/writing/logue.html

On Wed, Sep 12, 2018 at 11:39 AM Carl E Bogner  wrote:

>
>
> Lindsay, also and but of course, the work of another colleague:
>
>
> Kym McDaniel’s Exit Strategy series
>  (#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 
>
> Neil Goldberg’s My Parents Read Dreams I’ve Had About Them
> 
>
> Carrie Hawks’ black enuf 
>
> Scott Fitzpatrick ’s Fifth Metacarpal
>
> Drew Durepos’ Elder Abuse 
>
> Jenni Olson’s 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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>
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Re: [Frameworks] Conner/Marker and women of color suggestions

[jimmyschaus1]

if i recall correctly cauleen smith's Chronicles of a Lying Spirit (by
Kelly Gabron), shown as part of the traveling canyon program that played
chicago recently, utilized a lot of still photographic ephemera (photos,
magazine clippings, notes etc.)

On Thu, Aug 30, 2018 at 1:29 PM Chrissie Iles, Curatorial <
chrissie_i...@whitney.org> wrote:

> Arthur Jafa said recently “If you point a camera at a Black person, on a
> psychoanalytical level it functions as a White gaze. It therefore triggers
> a whole set of survival modalities that Black Americans have. It doesn’t
> matter if a Black person is behind the camera or not, because the camera
> itself functions as an instrument of the White gaze. In other words, it’s
> recording evidence of people speaking; hence there are certain things you
> can say, certain things you can’t say.” There are profound implications for
> black filmmakers’ use of found footage and collage in A.J.’s observation.
> Here are some suggestions. 1,3,5, 6 and 9 are in the Whitney’s collection;
> the others are in the process of being acquired.
>
>
>
> Gunvor Nelson and Dorothy Wiley’s film, though two white women, is also
> important to mention, and is an important counterpoint to the sexist
> imagery of ‘A Movie’ and other similar collage films of the time.
>
>
>
> 1.   Ja’Tovia Gary’s ‘An Ecstatic Experience’ (on show at the Whitney
> for the past nine months in ‘An Incomplete History of Protest’)
>
>
>
> 2.   Crystal Z. Campbell, ‘Go-Rilla Means War’ (2017) (collaged from
> a discarded 35mm film found in a former black civil rights movie theater in
> Brooklyn)
>
>
>
> 3.   Akusoa Adoma Owusu, ‘Split Ends (I Feel Wonderful)’ (2012) made
> from 1970s found footage of black women’s hair salons in New York, collaged
> images and soundtrack
>
>
>
> 4.   Yulan Grant, ‘Dis/Place’
>
>
>
> 5.   Diamond Stingily, ‘How Did he Die?’ (2016)
>
>
>
> 6.   Phillip Mallory Jones, ‘No Crystal Stair’ (1976) – viewable on
> Vimeo
>
>
>
> 7.   Tony Cokes, ‘Black Celebration’, 1988
>
>
>
> 8.   Theaster Gates, Do you hear me calling? (Mama Mamama or What Is
> Black Power?) 2018 – an installation using historical collaged footage
>
>
>
> 9.   Raphael Ortiz, ‘ “Cowboy” and “Indian” Film’ 1957-1958 – very
> early example of an indigenous voice critiquing the racist Hollywood
> portrayal of native Americans using collaged film clips.
>
>
>
> 10.   Gunvor Nelson and Dorothy Wiley’s ‘Schmeergunz’, 1966
>
>
>
> 11.   John Akomfrah (several of his films are currently being shown in
> his New Museum surveyin New York)
>
>
>
>
>
>
>
>
>
> *From:* FrameWorks  *On Behalf Of
> *Warren Cockerham
> *Sent:* Thursday, August 30, 2018 1:50 PM
> *To:* Experimental Film Discussion List 
> *Subject:* Re: [Frameworks] Conner/Marker and women of color suggestions
>
>
>
> Also Cauleen Smith (along with lots of other chicago-based folks) was
> commissioned a few years back to make a short piece from their collection..
> this is it:
>
>
>
> Songs for Earh and Folk 
>
>
>
> she has at least one other found footage short... I don't think it's
> readily available .. called T Minus Two
>
>
>
>
>
> also Buki Bodunrin's
>
>
>
> even when live is sad people still have a good time
> uh... made
> in Roger Beebe's 16mm class circa 2005...
>
>
>
>
>
>
>
>
>
> On Thu, Aug 30, 2018 at 1:30 PM, Beebe, Roger W.  wrote:
>
> I just saw An Ecstatic Experience by Ja’Tovia Gary for the second time
> last weekend at the Columbus Black International Film Festival & think it’s
> really doing interesting work with found footage:
>
>
>
> http://www.jatovia.com/an-ecstatic-experience-new/
>
>
>
> Not a black woman, but equally worthy of attention is Christopher Harris’s
> “Reckless Eyeballing”:
>
>
>
> https://www.viennale.at/en/films/reckless-eyeballing  [Chris, where’s
> your website???  Couldn’t find it with a quick google search…]
>
>
>
> As for composition & sequence, again not a black woman (just a woman), but
> I showed Katherin McInnis’s “Hat Trick” in my intro film production class
> to set up a flip book assignment this week, and I think the way she uses
> contact sheets of found images could be really interesting for both
> conversations:
>
>
>
> https://vimeo.com/98387497
>
>
>
> And Jen Proctor’s remake of Bruce Conner’s “A Movie” is already becoming a
> classic of the genre (for the YouTube era):
>
>
>
> https://vimeo.com/11531028
>
>
>
> Lots of non-white-dude options out there…
>
> Roger
>
>
>
> On Aug 30, 2018, at 11:30 AM, David Sherman 
> wrote:
>
>
>
> In a university production course have shown both Conner's  "A Movie" as a
> prompt for student found footage editing assignment and Marker's "La Jete"
> for photographic composition and sequencing.  I would be grateful for
> suggestions of short works by specifically women of  color that could be
> used as I mentioned above.
>
> Many thanks,
>
> David
>
>
>
> --

Re: [Frameworks] Entertaining the film

[jimmyschaus1]

Doesn’t qualify as characters breaking into a cinematic fiction exactly,
but in Celine and Julie Go Boating (my favorite movie!) the two main
characters intervene in a sort of living Victorian mystery novel
perpetually underway in a mansion.

On the videodrome tip (of a cinematic fiction invading “reality”), the
argento produced 80s horror movie Demons is about a horror movie sort of
“spilling over” into the world of the characters in the cinema viewing the
film.

On Sat, Jul 21, 2018 at 2:07 PM Adam Hyman  wrote:

> It’s been mentioned several times.
>
>
> From: FrameWorks  on behalf of
> Gene Youngblood 
> Reply-To: "Experimental Film Discussion List <
> frameworks@jonasmekasfilms.com>" 
> Date: Saturday, July 21, 2018 at 11:53 AM
> To: "Experimental Film Discussion List " <
> frameworks@jonasmekasfilms.com>
>
> Subject: Re: [Frameworks] Entertaining the film
>
> Does Woody Allen’s The Purple Rose of Cairo qualify in some way? I haven’t
> seen it for more than a decade.
>
> Gene & Jane Youngblood
> (505) 395-6370 home
>
> On July 21, 2018 at 11:00:55 AM, Stephen Anker (san...@calarts.edu) wrote:
>
> Ladislas Starevich - The Cameraman's Revenge, 1912
>
> On Thu, Jul 19, 2018 at 9:22 AM Nicole Baker  wrote:
>
>> Thanks for the suggestions everyone!
>>
>> It seems there are fewer than I expected. I was considering this
>> something of a film trope. Would you guys agree?
>>
>> On Wed, Jul 18, 2018, 9:04 AM Lara Hannawi 
>> wrote:
>>
>>> a fun odd one where the subject is trying to depart from the film,
>>> within the film, you can say she's breaking down the 4th wall, the theatre
>>> of film, so in that sense she's doing the opposite of what you're looking
>>> for. its ayneh, or the mirror, by panahi.
>>>
>>> -- Original message--
>>> *From:* Patrick Friel
>>> *Date:* Tue, Jul 17, 2018 18:01
>>> *To:* Experimental Film Discussion List;
>>> *Cc:*
>>> *Subject:*Re: [Frameworks] Entertaining the film
>>>
>>> Buster Keaton's SHERLOCK JR. is the classic example.
>>>
>>> Also, HELLZAPOPPIN' with Ole Olson and Chic Johnson.
>>>
>>> Chuck Jones' great cartoon DUCK AMUCK is a variant on this.
>>>
>>>
>>> On Tuesday, July 17, 2018 7:48 PM, Nicole Baker 
>>> wrote:
>>>
>>>
>>> Hey frameworkers!
>>>
>>> I'm trying to gather together a list of films where a person or persons
>>> enter into the film world/narrative.
>>> I know I've seen it, but can't think of any examples! Besides that Take
>>> on Me music video (which is close but no cigar).
>>> Examples from TV would work too.
>>>
>>> Thanks everyone!
>>> Nicole
>>> ___
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>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>>>
>>> ___
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>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>> ___
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>>
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Re: [Frameworks] Help: 16mm looper to rent - East Coast Options!

[jimmyschaus1]

Just ran the loop through a regular 16 projector and had the extended arm
of a mic stand placed a couple feet behind the projector, perpendicular to
it, and looped the back part of the loop around that.  Adjust the distance
of the stand from the projector to effect the tautness.  Made one big loop
that went round and round.  Took a cue from audio tape looping techniques
I've seen at experimental music gigs lol.  Just put another object
somewhere that can take up the slack and voila.

Not the safest bet--the material the mic stand's made out of isn't abrasive
but also its not designed for celluloid running smoothly over it for hours
on end.  You could end up with some scratches.  But if you really want to
do the loop and can't acquire a proper looping projector, it works.

On Thu, Jul 19, 2018 at 11:20 AM, Nicole Baker  wrote:

> Hey Jimmy Schaus,
> Could you elaborate on how you set that up?  It sounds like a really
> useful trick!
>
> Thanks!
>
>
>
>
> On Thu, Jul 19, 2018, 8:54 AM jimmyschaus1  wrote:
>
>> I used the arm of a mic stand to take up the slack of the loop and just a
>> regular 16 projector for an art show once, worked pretty well!
>>
>> On Thu, Jul 19, 2018 at 9:37 AM Margaret Rorison <
>> margaret.b.rori...@gmail.com> wrote:
>>
>>> Dear Friends,
>>>
>>> A student of mine is looking to show a 16mm film in a Juried show at her
>>> school in Baltimore, MD.
>>>
>>> Can you recommend any professional places that would rent a looper for a
>>> reasonable price.
>>>
>>> ​I have a beautiful handmade looper made by Kenny Curwood- but I am not
>>> able to lend this and wanted to see what other options there are for
>>> renting one for a couple of weeks.
>>>
>>> thanks!
>>> Meg​
>>>
>>> ---
>>> http://margaretrorison.com/
>>> http://sightunseenbaltimore.com/
>>>
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>> ___
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>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>
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>
>
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Re: [Frameworks] Help: 16mm looper to rent - East Coast Options!

[jimmyschaus1]

I used the arm of a mic stand to take up the slack of the loop and just a
regular 16 projector for an art show once, worked pretty well!

On Thu, Jul 19, 2018 at 9:37 AM Margaret Rorison <
margaret.b.rori...@gmail.com> wrote:

> Dear Friends,
>
> A student of mine is looking to show a 16mm film in a Juried show at her
> school in Baltimore, MD.
>
> Can you recommend any professional places that would rent a looper for a
> reasonable price.
>
> ​I have a beautiful handmade looper made by Kenny Curwood- but I am not
> able to lend this and wanted to see what other options there are for
> renting one for a couple of weeks.
>
> thanks!
> Meg​
>
> ---
> http://margaretrorison.com/
> http://sightunseenbaltimore.com/
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
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Re: [Frameworks] Documentaries within/with a group subject and participatory filmmaker(s)

[jimmyschaus1]

Lori felker’s Future language: the dimensions of von lmo (2018!)

On Tue, Jul 10, 2018 at 5:59 PM Adam Hyman  wrote:

> Sonya stated "I'm especially interested in films from the last 25-30
> years.”  These suggestions are from the late 60s and early 70s.  Has there
> really been nothing that fits the bill made in the USA since 1990?  And
> outside the USA?
> There are many many films where the filmmaker is visible.  Almost every
> Werner Herzog film, for example.  The group activity with the filmmaker as
> participant is the challenging part.
>
> Sonya, does something like “The Act of Killing” (Joshua Oppenheimer) fit
> the bill?  The enacted scenes of the genocidaires fantasy films were
> organized by the filmmakers.  They are a sort of group activity, and the
> filmmakers are an active participant.  There is some direct address to
> Joshua later in the film, but I don’t recall whether any filmmakers
> are visible in those enacted scenes.
>
> Or how about groups like bands, teams, or such where one member is making
> the film.  Does Dave Grohl’s “Sound City” count?  Other band docs directed
> by members?  (isn’t there on by the Beastie Boys?)
>
> I think overall you are more likely to find such films not in the USA,
> where the individual still reigns supreme and filmmakers in standard docs
> are still supposed to be watchers and not participants.  “Experimental”
> docs often have a filmmaker participant, but the group activity element is
> tough.  I know of a couple of films that live more in the art world than
> the doc world that look at group therapy, have staged scenes, and so
> forth.  But those are also tough due to doctor-patient privilege, so there
> may be no scenes of the “ actual” group therapy session.  The filmmakers
> aren’t patients in therapy; they do set up the staged scenes though with
> the patients in the group, and thus participate in that sense. Does that
> interest you?
>
> How about “The Cove”?  Wasn’t the filmmaker working with the people doing
> the action against dolphin hunters?  Or am I misremembering?
>
> Does the filmmaker have to be a camera person?  There are plenty of sports
> films, like ski stunt films, where the camera people are the skiers, for
> example, but are they the filmmakers?  Or is a filmmaker only someone who
> directs and edits?
>
> Are there films that anyone can think of, perhaps, with a class in a
> school, and the teacher is making the film?
>
> Best regards,
>
> Adam
>
> From: FrameWorks  on behalf of
> Christian Bruno 
> Reply-To: "Experimental Film Discussion List <
> frameworks@jonasmekasfilms.com>" 
> Date: Tuesday, July 10, 2018 at 12:52 PM
> To: "Experimental Film Discussion List " <
> frameworks@jonasmekasfilms.com>, "sonya.mladen...@gmail.com" <
> sonya.mladen...@gmail.com>
> Subject: Re: [Frameworks] Documentaries within/with a group subject and
> participatory filmmaker(s)
>
> I'm guessing William Greaves' *Symbiopsychotaxiplasm, Take One* would be
> an excellent example.
>
>
> best
>
> Christian
>
>
> --
> *From:* FrameWorks  on behalf of
> Scott MacDonald 
> *Sent:* Tuesday, July 10, 2018 11:58 AM
> *To:* Experimental Film Discussion List; sonya.mladen...@gmail.com
> *Subject:* Re: [Frameworks] Documentaries within/with a group subject and
> participatory filmmaker(s)
>
> *Peter Watkins: Punishment Park (1970) and really most all of Watkins'
> work.*
>
> *Scott*
> On Tue, Jul 10, 2018 at 1:22 PM, Sonya Mladenova <
> sonya.mladen...@gmail.com> wrote:
>
> Hello everyone,
>
> Looking for documentary films shot with/within a group of people engaged
> in an activity or some kind of project, independently or in an organized
> environment,*in which the filmmaker is a visible and/or an active
> participatory presence*. I'm especially interested in films from the last
> 25-30 years. I'm investigating the relationship between the filmed
> person(s) and the person(s) filming, whatever the configuration.
>
>
> Somes examples, but not limited in scope:
> Starless Dreams by Mehrdad Oskouei
> À ciel ouvert by Mariana Otero
> La moindre des choses by Nicolas Philibert
>
> Many many thanks,
>
> Sonya
>
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Re: [Frameworks] FrameWorks Digest, Vol 94, Issue 20

[jimmyschaus1 .]

Jem Cohen "Ann Truitt, Working"

On Mon, Mar 26, 2018 at 5:33 PM, MARILYN BRAKHAGE  wrote:

> Stan Brakhage's "Fifteen Song Traits" is "a series of individual portraits
> ... all interrelated" (about 29 minutes); other short Brakhage portraits
> include "Two: Creeley/McClure," "Hymn to Her," "Jane," "Worm and Web Love"
> -- and for a longer one (54 minutes), "The Governor" (Governor Lamm of
> Colorado). Also, "Sirius Remembered" (mentioned below) is a reflection on
> the decaying corpse of the family dog. But for some live animal portraits
> you might want to look at "The Domain of the Moment."
>
> Marilyn Brakhage
>
>
>
> --
> *From: *"robert harris" 
> *To: *"Experimental Film Discussion List" 
> *Sent: *Monday, March 26, 2018 2:50:51 PM
> *Subject: *Re: [Frameworks] FrameWorks Digest, Vol 94, Issue 20
>
> oh, to name but a few:
>
> *Mr. Hayashi,* by Bruce Baillie
>
> Jonas Mekas has many portraits embedded within his longer works
>
> Shigeko Kubota has portraits (see EAI) of George Maciunas,George Maciunas
> With Two Eyes 1972, George Maciunas With One Eye 1976
> ;
>  her
> own father (*My Father*); and of Nam June Paik.
>
> Brakhage’s *Sirius Remembered*
>
> *The Flower Thief * might be called a portrait
>
>
>
>
> On Mar 26, 2018, at 1:38 PM, 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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>
>
>
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Re: [Frameworks] Long takes and still images/ photography in experimental films

[jimmyschaus1 .]

Singling out long takes in a forum dedicated to experimental film is
shooting fish in a barrel!  So I'll dive in with the more idiosyncratic
part of the inquiry, photography/still images.  Two wonderful things I've
seen recently entirely comprised of still photographic images "moving", and
directly engage a sense of bemusement in finding the line between stasis
and motion, are Abbas Kiarostami's *24 Frames *and Jon Jost's *Mountains as
Mountains*, which you can watch here .

shamelessly, my video Rocking Horses  
(password=rocking,
clever I know)

stasis classics: Chris Marker's *La Jetee *and Raul Ruiz's *Dogs Dialog*.

Apitchatpong Weerasathakul is a master of long takes, and in *Uncle
Boonme... *you get two-for-one, as, if I recall, there's a lovely sequence
of still photographs of Thai soldiers around the halfway mark.

Pedro Costa's films are filled with long takes, and the opening of *Horse
Money *is an incredible procession of Jacob Riis depression-era photos.

Tsai Ming-Liang, and if you're really looking for parts that emphasize
stillness and the weight of time, there's a 20 minute uninterrupted shot
towards the end of *Stray Dogs *that's really something else.


And yeah, James Benning, Sharon Lockhart, and some Ben Russell on the more
experimental/non-narrative side of things.



On Thu, Mar 8, 2018 at 4:51 PM, Adam Hyman  wrote:

> Virtually every James Benning film.
>
> From: FrameWorks  on behalf of
> Sebastian Wiedemann 
> Reply-To: "Experimental Film Discussion List  com>" 
> Date: Thursday, March 8, 2018 at 12:48 PM
> To: "Experimental Film Discussion List " <
> frameworks@jonasmekasfilms.com>
> Subject: [Frameworks] Long takes and still images/ photography in
> experimental films
>
> Dear Frameworkers,
> I'm beginning a research about the presence of long takes and still
> images/photography as expressive resources in the production of
> experimental films.
> If anyone has in mind films that work with these procedures and can share
> with me some titles, I will appreciate a lot.
> Best,
> Sebastian
>
> --
> Sebastian Wiedemann
> http://swiedemann.tumblr.com/
> http://wavesproject.tumblr.com/
> http://hambrecine.com/
>
>
>
>
> ?
>  Sent with Mailtrack
> 
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Re: [Frameworks] Parallel Editing

[jimmyschaus1 .]

Brian de Palma's split screen sequences, not parallel editing in the
traditional sense but interesting variations on (inversions of?) it, as the
edit which illuminates the concurrence of events or perspectives happens
spatially rather than temporally.  Two of my favs:

Phantom of the Paradise 

Sisters 

On Tue, Nov 21, 2017 at 9:28 AM, Benjamin Léon  wrote:

> DWG
>
> *THE STRIKE* (1925), EISENSTEIN
>
> All the best.
>
>
>
> 2017-11-21 15:36 GMT+01:00 Cecilia Dougherty 
> :
>
>> Stanley Kubrick’s The Killing - many examples.
>>
>> On Mon, Nov 20, 2017 at 9:42 PM Amanda Christie <
>> ama...@amandadawnchristie.ca> wrote:
>>
>>> thank you warren…
>>>
>>> on both counts…
>>> of
>>>
>>> A) steering things away from the DWG
>>> ..&..
>>> B) pointing out how uselessly broad the initial question was.
>>>
>>> please narrow it down kelsey… what are you really after?
>>>
>>> adc
>>>
>>>
>>>
>>> > On Nov 20, 2017, at 8:53 PM, Warren Cockerham <
>>> warrencocker...@gmail.com> wrote:
>>> >
>>> > The problem with Kelsey’s inquiry is it’s much too broad. There are
>>> literally millions of narrative examples in film and television. Every
>>> popular tv show is parallel edited.  Instead of listing millions of
>>> examples, is there something more nuanced that you’re after here, Kelsey?
>>> >
>>> >> On Nov 20, 2017, at 8:45 PM, "o...@thenowcorporation.com" <
>>> o...@thenowcorporation.com> wrote:
>>> >>
>>> >> yes. and the Baptism scene in The Godfather.
>>> >>
>>> >> owen
>>> >>
>>> >>
>>> >>> On Nov 20, 2017, at 7:38 PM, Dominic Angerame <
>>> dominic.anger...@gmail.com> wrote:
>>> >>>
>>> >>> look no further than DW Griffith who developed this fully.
>>> >>>
>>> >>> On Mon, Nov 20, 2017 at 10:15 AM, Kelsey Velez <
>>> kelsve...@hotmail.com> wrote:
>>> >>> I'm looking for instances of parallel editing in narrative cinema,
>>> if you please!
>>> >>>
>>> >>>
>>> >>> Thanks,
>>> >>>
>>> >>> Kelsey
>>> >>>
>>> >>>
>>> >>> ___
>>> >>> FrameWorks mailing list
>>> >>> FrameWorks@jonasmekasfilms.com
>>> >>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>> >>>
>>> >>>
>>> >>> ___
>>> >>> FrameWorks mailing list
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>>> >>
>>> >> ___
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>> --
>> “As from when does somewhere become truly yours?”  -- Georges Perec
>>
>> Cecilia Dougherty
>> http://www.ceciliadougherty.com
>> http://inbetweentheories.com
>>
>>
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>>
>
>
> --
> Benjamin Léon
> benj.l...@gmail.com
> (Fr) + 33 (0)6 28 07 18 00 <+33%206%2028%2007%2018%2000>
> (Be) + 32 (0)479 17 64 16 <+32%20479%2017%2064%2016>
>
> http://ben-newhorizons.tumblr.com/
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Re: [Frameworks] experimental/feminist films with a woman's voice-over narration?

[jimmyschaus1 .]

jennifer reeder "white trash girl"  

On Fri, Nov 3, 2017 at 12:20 PM, Chuck Kleinhans 
wrote:

> I agree with others that many experimental works by women use a woman’s
> voice or voices.
>
> It might be useful to recall that what was often novel in women’s films in
> the 60s-70s era was dealing with a narrator or in documentary experts or
> witnesses who were women.  We might connect this with changing conditions
> and technologies of production that made synch sound recording cheaper and
> more accessible for artisan filmmaking. as well as women artists having a
> special interest in women saying things as well as looking at things.  The
> modes of silent, sound, and synch sound in experimental film also play a
> part.  For example, we see a lot of Jane Brakhage in her husband’s work,
> but do we ever hear her?
>
>  I remember after a screening of a 90 minute early feminist film of the
> late sixties, one of my feminist friends remarking about the guys
> attending, “I’ll be that’s the first time most of them listened to women
> talking for so long and not leaving or interrupting them.”
>
> Chuck Kleinhans
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Re: [Frameworks] Looking for scenes with bus shelter / bus stop

[jimmyschaus1 .]

the end of ghost world

On Wed, Jul 19, 2017 at 7:51 AM, Jessica Arseneau 
wrote:

> Dear Frameworks people,
>
> I'm looking for film scenes that happens in bus shelters/stops. If any
> scenes are coming up in your mind, please feel free to send the title of
> the film.
>
> Thanks a lot and all the best,
>
>
> Jessica Arseneau
> Interdisciplinary artist
> jessarseneau.github.io
>
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