[Frameworks] Pip Chodorov's FREE RADICALS: A HISTORY OF EXPERIMENTAL FILM opens Friday at Anthology – with Pip in person!
hi all! passing on this special annoucement for anthology - we're very happy that pip in the flesh will cross the threshold of the old courthouse this very friday night for the opening to present his must-see, 'free radicials: a history of experiment film,' and joined by the composers of the picture's score, black lake, who will be giving a concert at anthology at 7. -rr ** Hi Frameworkers, Just wanted to remind the list that Anthology is opening this Friday a week-long run of FrameWorks founder (12/1995) Pip Chodorov's FREE RADICALS: A HISTORY OF EXPERIMENTAL FILM. Pip will be present for the opening night screenings this Friday (at 7pm and 9pm) as well as this Saturday and Sunday evening screenings, and the closing night screenings on Thursday August 9. Here's the link on our website and the same info is also below and in our printed calendars: http://anthologyfilmarchives.org/film_screenings/calendar?view=listmonth=08year=2012#showing-39511 ** NEW YORK THEATRICAL PREMIERE RUN! Pip Chodorov FREE RADICALS: A HISTORY OF EXPERIMENTAL FILM August 3 – 9 * * This feature-length documentary provides a vivid, eye-opening, and appropriatelypersonal introduction to one of the most important, yet perpetually marginalized, realms of filmmaking: avant-garde cinema. Achieving the near-impossible task of doing justice in a mere 82 minutes to this incredibly rich, varied, and expansive domain, FREE RADICALS is as expertly constructed an introduction to the topic as one could hope for, thanks in large part to the film’s privileging of rare interviews with some of the most importantfilmmakers in the avant-garde tradition (including Jonas Mekas, Peter Kubelka, Stan Brakhage, and Hans Richter), and its inclusion of several films in their entirety. Narrated in a personal and plainspoken manner by Chodorov, the film’s sincere admiration for its subject is best reflected by Chodorov’s own description: “I wanted to share a few of the films I love and introduce you to some of the free, radical artists who made them.” “Named after the experimental film classic by Len Lye, FREE RADICALS is an informative yet above all passionate film essay, as well as a fine introduction to the world of avant-garde film. … Using a range of different film formats along the way, Chodorov sketches out the genealogy of avant-garde filmmaking in a playful, yet ultimately very accessible documentary that aims to transmit this legacy to a new audience.” –ROTTERDAM INTERNATIONAL FILM FESTIVAL *The 7:00 opening night screening will feature a live performance by Black Lake (Slink Moss Susan Jennings), the composers of the FREE RADICALS soundtrack.* *–Friday, August 3 through Thursday, August 9 at 7:00 9:00 nightly. Additional screenings on Saturday and Sunday at 5:00.* * * *(FREE RADICALS, Pip Chodorov, 2010, 82 minutes, video. **Distributed by Kino International.)* * * *Additional info:* *http://kinolorber.com/film.php?id=1315* * * *Trailer:* *http://re-voir.com/pip/FreeRadTrailer.mp4* -- ... ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] film about food
Confirmation Day (1934) - Karl Valentin The Last of the Persimmons (1972) - Pat O'Neil Mouth to Anus (2011) - Stefani Bardin On Mon, Jul 2, 2012 at 1:51 PM, graeme hogg graemeh...@irational.org wrote: Food by Gordon Matta-Clarke 1972 16mm. http://www.eai.org/title.htm?id=761 On Mon, 2 Jul 2012, franco base wrote: Hi. I'm organizing a experimantal film exhibition about fodd. Have you got suggestion about film and artist. I'd like have 16mm or super8 or 8mm. This film should be readily available for hire. thanks a lot. F. -- http://www.bristol-channel.org/skomer ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] humorous experimental films
perhaps... jim henson's an organized mind http://www.youtube.com/watch?v=GN23Q4wgJ6w On Tue, May 22, 2012 at 10:56 PM, C Colvin quirkys...@hotmail.com wrote: Framerworkers! I'd love to pick your brains. I'm interested to watch more ( learn more about) experimental films that are humorous. Either through physical comedy, sly wordplay/visual combinations, hilarious imagery or anything that has hit your funny bone... I'd love to hear your recommendations. I prefer shorts (less than 20min), but am equally excited about funny moments/scenes in feature length experimental works as well. Thanks so much! Connie Colvin ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Vaudeville silent clowns in experimental film?
maybe kenneth anger's rabbit's moon could inspire you? good luck with your project! On Sat, May 19, 2012 at 3:27 PM, Shona Masarin shonamasa...@hotmail.com wrote: Hello all, Does anyone know of any experimental films that have explored vaudeville, slapstick and/or silent era clown films (eg. Buster Keaton) in some way or another? I am working on a collaborative dance film with choreographer, Cori Olinghouse, who has been studying movement forms like eccentric dance, mime, and voguing. Our film will seek to invoke the spaces of Vaudeville through a Dada/Surrealist eye. We are attracted to the way these two forms share aspects of humor, oddity, and slapstick. Here's a link to a preview of our film project on our Kickstarter page: http://www.kickstarter.com/projects/139958170/ghost-line Some films that have inspired us thus far are Hans Richter's Ghosts Before Breakfast and Anna Halprin in James Broughton's Golden Positions. Any leads will be greatly appreciated! Thanks! Shona Masarin www.shonamasarin.com shonamasa...@hotmail.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Digital Legacies of the AvantGarde conference - NYC
just spreading the word for the visiting professor Marco Deseriis - This Friday, 4/20 - 9am - 2pm The Digital Legacies of The Avant Garde conference is happening in NYC. http://www.digitallegacies.org/ The New School Kellen Auditorium 65 5th Ave, ground floor New York, NY 10003 It's free and open to the public. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Kodak NY cash and carry?
hey there the address: 360 W 31st St # 2 New York (212) 631-3400 let the security guard direct you to the far elevators. go to the second floor. to the right is the window where you will pick up a telephone, place your order. pay with credit card or check. and the great people in the warehouse pack up your order and bring it up.to the window. if you're a little hesitant, i'd call that (212) # and ask them if they have what you need in stock piece hominy, r On Thu, Mar 1, 2012 at 11:27 AM, Jeff D Silva cineasta.si...@gmail.com wrote: Hi Frameworkers, It's been a while since I've gone to the NY Kodak cash and carry location to buy film, and with the recent changes I just wanted to check to see if anyone has been there in the last few weeks to buy film and confirm it is still functioning as such. Also, can you email the exact address? Thanks Jeff Silva http://www.ivanandivana.com Sent from iPhone ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Christo Running Fence Films
Looks really beautiful - Thank you for sharing! R On Fri, Nov 18, 2011 at 1:50 PM, Myron Ort z...@sonic.net wrote: The long lost 16mm footage taken by me and two of my students in 1976 around Christo's Running Fence here in Sonoma county California has now been organized into 9 short films available on dvd at my website. The aesthetic ranges from playful home movies to experimental. Many rarely seen or never before seen views accessed by private helicopter. http://www.zeno-okeanos.com/myron-ort-films/new-films Myron Ort ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Perfectly white cats with blue eyes are always, or almost always, deaf. -Engels ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Forbes editorial about Kodak
I found Aaron's post to be very succinct, and brought up some good points. And a hearty 'fuck yourself' a fine follow-up to get the rowdy discussion going. To me, Aaron's post highlighted the focus on debating image quality in the capture process of film and video, but seldom to I hear discussion about the consistent quality image projection. From my experience, this is where video is inconsistent and lacking, and where film projection truly *shines*. I never experience eye fatigue watching film projected, and I hope that film persists as a medium, or that more attention is paid to developing affordable, high quality consumer video projection systems. The faint glow of the LCD projectors in the 1K-3K range just don't cut it - at all. On Tue, Oct 4, 2011 at 11:45 AM, David Tetzlaff djte...@gmail.com wrote: What's important about the Forbes piece is not the precise details (Kodak Park may not be shuttered, but it was more or less a ghost town as of 5 or 6 years ago), but the fact that a major business publication is looking at Kodak's stock collapse as a sign of 'the end.' Forbes is not going to print anything like that if Kodak has real chance of pulling out of it's tailspin. There's really nothing new here... The questions remain: - What will happen to Kodak's motion picture stock business? - If Kodak's film unit is just shut-down, rather then sold etc., what limitations will be imposed by whatever appears in it's place to provide small gauge filmmakers with material (SOMETHING will, but what?) Strangely, for Frameworks, Aaron Ross seems to view things from the standpoint of the mainstream entertainment media biz, and from that perspective, he's no doubt correct. 35mm will hold on for a number of years, mainly because small theaters cannot afford the capital outlay to go to digital projection. But once that obstacle gets overcome, the 'movie biz' will be essentially all-digital. I don't go out to 'the movies' much any more, but I did go see 'Drive' last night. The multiplex seems to have converted all or almost all of it's screens to DLP. I have been going to this theater over the course of 10 or 11 years now, and had many poor-quality viewing experiences there: films out of focus; uneven focal planes; multitudes of bad audio issues... 35mm projection is pretty complicated technology, and requires people who know what they're doing to be presented properly. And as we all know, the exhibitors cast aside professional projectionists long ago, leaving their multiple screens on some kind of automation system under the supervision of a single minimum-wage teen-age employee who had no idea how to handle any kind of problems, which happened pretty regularly... I realized last night that digital fixes all that. No mechanical issues. No film to handle. No analog audio path to get messed up with ground loops. No deterioration of the print. The corporations have what they want now: dutiful machines do all the real work, and a minimal staff of disposable low-wage workers is all that's required to run the show. For the average moviegoer, this is an improvement. However 'cold' or 'dead' or whatever digital projection may seem to some in comparison to film, most people aren't going to care, and at the retail end out in the suburbs and towns it's going to work a lot better and more reliably. Me, I'd MUCH rather watch a nice print projected properly (but then, I like real newspapers, magazines, books... you know, on paper...), but, really, over the years it's been like a 50/50 proposition at best that that's what you'll get for your $10. 'Product' continues to be separated not just from 'art' but from human craft more generally. This should not come as a surprise. (For a good account of this process as history and concept, read Harry Braverman's 'Labor and Monopoly Capital'. Don't be scared by the title or cover, which evoke fears of thick academic jargon and proclamations of doctrinaire Marxist cant. It's actually an engaging read, and the politics aren't shouty at all...) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Perfectly white cats with blue eyes are always, or almost always, deaf. -Engels ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] NYC - Oct 5-6 - JAAP PIETERS - icon of super 8
Hi Frameworkers, while this was posted on This Week in A-G we want to make sure everyone in NY knows about the rare appearance of super 8 icon Jaap Pieters at Anthology Film Archives this Wed and Thurs. If you are a super 8 fan or any film fan for that matter, do not miss this chance to see Pieters and his super 8 films in person! Spread the word to other super 8 fans! This Wed Thursday at Anthology! Our ongoing series continues: NEW/IMPROVED/INSTITUTIONAL/QUALITY October 5-6 JAAP PIETERS Long time icon of Super 8 filmmaking There is something inexplicable and strangely exquisite about the Super-8mm films of Dutch artist Jaap Pieters. A longtime icon of small-gauge filmmaking who has shown in cinemas, art spaces, and festivals throughout Europe, Pieters is often compared to Warhol because of his preference for single takes and a fixed camera. The films generally focus on the down-and-out passersby on the street outside his home in Amsterdam, and many of the movies are actually shot from his window. Possessed with an empathetic eye and incredible timing, Pieters captures metaphorical images and private performances that transcend the everyday moments in which they were framed. We are thrilled to have Pieters in person to present thesetwo programs featuring a number of 35mm blow-ups made by the EYE Film Institute Netherlands. Rounding out the screenings is an illuminating documentary portrait of Pieters by his colleague Fred Pelon. This program has been made possible thanks to the generous support of the Mondriaan Foundation; very special thanks to Coby Reitsma (Mondriaan Foundation), and to Claartje Opdam, Marta Jurkiewicz Anna Abrahams (EYE Film Institute Netherlands), and Travis Bird. Please note: the films are listed chronologically, but will be screened in a different order. PROGRAM 1: All films in this program are on Super-8mm. THE TROLLEYMAN / DE WINKELWAGENMAN (1991, 3.5 minutes, silent) WILLIAM THE FIRST, WILLIAM THE SECOND, WILLIAM THE THIRD / WILLEM I, WILLEM II, WILLEM III (1991, 17 minutes) THE HOGWEED / DE BEREKLAUW (1992, 3.5 minutes, silent) KIM STEVEN (1994, 3.5 minutes, silent) STRINGLESS / SNAARLOOS (1994, 3.5 minutes, silent) SCREAMMAN / SCHREEUWMAN (1994, 3.5 minutes, silent) TEARS FROM DADDY’S SUIT / TRANEN UIT PAPA’S PAK (1994, 5.5 minutes, silent) SUDSCRUBBING/ SCHUIMSCHROBBEN (1995, 3.5 minutes, silent) THE FLYER / DE VLIEGENIER (1995, 3.5 minutes, silent) MEATTRANSPORT / VLEESVERVOER (1995, 3.5 minutes, silent) PASSERS-BY ON A SUNDAY / PASSANTEN OP ZONDAG (1996, 3.5 minutes, silent) CLEAR VIEWS / SCHONE UITZICHTEN (1997, 2.5 minutes, silent) THE WEIGHT / HET GEWICHT (A.K.A. WHO’S AFRAID OF RED, YELLOW BLUE) (1998, 6.5 minutes, silent) SILVER GREY WAVES ON THE LAND, OR THE WHITE SEA (WITH THANX TO TGR) / ZILVER GRIJZE GOLVEN OP HET LAND, OF DE WITTE ZEE (MET DANK AAN TGR) (2000, 3.5 minutes, silent) SWISSSPIDER /SPINSUISSE (2000, 3.5 minutes, silent) THE FURIOUS WITH BOTTLE CAN / DE WOEDENDE MET FLES BLIK (2002, 1.5 minutes,silent) MICHEL’S SHADOWWORKS / MICHELSSCHADUWWERKING (2004, 3.5 minutes, silent) SPACESHIP SUISSE / RAUMSCHIFF SCHWEIZ (1994/2007, 8.5 minutes, silent) Total running time: ca. 90 minutes. –Wednesday, October 5 at 7:30. PROGRAM 2: The 35mm blow-ups presented in this program are courtesy of the EYE Film Institute Netherlands. THE TINCANMAN / DE BLIKJESMAN (1991, 3.5 minutes, Super8-to-35mm, silent) JIMMY’S BALLET (1993, 3 minutes, Super8-to-35mm, silent) THE CUPSDANCE / DE KOPJESDANS (1994, 2.5 minutes, Super8-to-35mm) ZÜRICH BLISSNESS / ZÜRCHER ZEGNERIN (2000, 3.5 minutes, Super8-to-35mm, silent) OPWAAIINGEN (2010, 3 minutes, Super8-to-35mm) WINDE’S BLISS / WINDE’S GELUK (2010, 3 minutes, Super8-to-35mm) With: Fred Pelon JAAP PIETERS PORTRAIT 2006, 45 minutes, video, bw. In Dutch with English subtitles. In this video portrait of Pieters, which premiered at the 2006 Rotterdam Film Festival, ‘the Eye of Amsterdam’ is filmed in his home, where his moving struggle with the plethora of objects he’s collected becomes a symbol for his inner life. Organizing, controlling, and re-collecting the chaos by means of photography becomes a way of treasure hunting and finding. The filmmaker joins Pieters in the search for his heater, but ends up becoming part of the collection. Total running time: ca. 70 minutes. –Thursday, October 6 at 7:30. ** About our ongoing series, NEW/IMPROVED/INSTITUTIONAL/QUALITY Each quarterly calendar at Anthology is filled with hundreds of films and videos all grouped into a number of series or categories. Along with preservation screenings, theatrical premieres, thematic series, and auteur and actor retrospectives, we’re equally dedicated to presenting new and recent work by individuals operating at the vanguard of non-commercial cinema. Each month, under the rubric NEW/IMPROVED/INSTITUTIONAL/QUALITY, we showcase at least one such program, focusing on moving-image artists who
