Re: [Frameworks] Homemade fixer?

[Robert Schaller]

Sodium Thiosulfate is sold as a dechlorinating agent for aquariums and swimming 
pools.  Maybe you could find some that way?

> On Oct 11, 2020, at 3:46 AM, Nicole Baker  wrote:
> 
> Hello experimental film friends!
> I find myself currently residing in Central Asia and struggling to obtain 
> film processing supplies.
> My plan is to develop my B with caffenol and ship my color to Europe (or 
> Japan, Korea?) for professional processing (any recommendations for labs are 
> welcome!)
> 
> My question for you all is, what can I use to fix my caffenol developed film? 
> I have not had luck tracking down any photo supplies here, and as far as I 
> can tell, importing them is likely to be a problem.
> Thank you everyone!
> Nicole Elaine Baker Peterson
> Founder & Head Programmer, Media Monsters
> twitch.tv/media_monsters  | magiklantern.com 
> 
> 
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Re: [Frameworks] books on animation theory?

[robert harris]

Hollywood Flatlands, by Esther Leslie




> On Aug 9, 2020, at 1:15 PM, Christopher Ball  wrote:
> 
> Walt disney and Europe. European Influences on Disney by Robin Allan. 
> 
> Sent from my BlackBerry — the most secure mobile device — via the Rogers 
> Network
> From: mgizy...@hotmail.com 
> Sent: August 9, 2020 14:02
> To: frameworks@jonasmekasfilms.com 
> Reply to: frameworks@jonasmekasfilms.com 
> 
> Subject: Re: [Frameworks] books on animation theory?
> 
> The newest one: “Global Animation Theory” - 
> https://www.bloomsbury.com/uk/global-animation-theory-9781501337130/ 
> 
> There is a plethora of books on animation theory.
> Marcin Giżycki
>  
> From:  FrameWorks  > On Behalf Of Cecilia 
> Dougherty
> Sent: Sunday, August 9, 2020 6:06 PM
> To:  Frameworks  >
> Subject: [Frameworks] books on animation theory?
>  
> I'm looking for books on animation theory, not about animation how-to or 
> history of, but articles, anthologies, texts that discuss theories of 
> animation. Any suggestions of titles?
> Thank you!
> Cecilia Dougherty
> 
> --
> Cecilia Dougherty
> https://www.ceciliadougherty.com/ 
> https://drift.ceciliadougherty.com/ 
> https://paleolithic.ceciliadougherty.com/ 
> 
>  
> ___
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> FrameWorks@jonasmekasfilms.com 
> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> 

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Re: [Frameworks] New Experimental Doc Podcast

[robert]

This sounds great, Ken!  Thanks!

It's always inspiring to find people who discover ways to be productive 
in the time of this pandemic.


On 2020-07-21 09:40, Ken Paul Rosenthal wrote:

Announced via press release [1]:

“In Lucid Dreaming, curator and writer Pamela Cohn interviews a
constellation of artistic luminaries working within contemporary
contexts of documentary practice and experimental moving image.
Together they explore artistic inspirations, conceptual intent and
processes, and the expanding socio-political possibilities of creating
personal memoir.” The first episode features the filmmaker Penny
Lane and future guests will include Kirsten Johnson, Miko Revereza,
Shireen Seno, Alexander Nanau, Onyeka Igwe, Ra'anan Alexandrowicz and
Srdan Keca. “We are reaching out to you from under the rock of
reality like a cochlea octopus.”

Ken

www.kenpaulrosenthal.com [2]



Links:
--
[1]
https://eur04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fifccenter.us8.list-manage.com%2Ftrack%2Fclick%3Fu%3D6735c4a130dbcf6b942e0573a%26id%3D8fc87c0c4f%26e%3D4f21cb1259data=02%7C01%7C%7C754915a4e675426e469b08d82cd4abcf%7C84df9e7fe9f640afb435%7C1%7C0%7C637308639204548076sdata=xLSIe%2F97VThW%2Bwi7X9tBwjmOULtUaGuPSgSrFDOFmPI%3Dreserved=0
[2] http://www.kenpaulrosenthal.com
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Re: [Frameworks] Luther Price RIP

[robert]

I'm very sorry to hear that.  The intensity of his work was profound, a 
revelation about what experimental film can be.



On 2020-06-16 11:56, Warren Cockerham wrote:

One of the biggest hearts of any human


On Jun 16, 2020, at 10:57 AM, Esperanza Collado
 wrote:





Hi all,

I just heard that Luther Price passed away but don't know the
reason. I only met him once in 2017 in A Coruña and we had the most
bizarre conversation in a jazz bar. Ed Halter was with him and took
care of him, I don't know much more but I thought I would share
here. There certainly was an aura of mystery around him.

Best,

--

Esperanza Collado
www.esperanzacollado.net [1]
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Links:
--
[1] http://www.esperanzacollado.net
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Re: [Frameworks] FrameWorks Digest, Vol 121, Issue 1: Re: 6mm Film Projector

[Robert Withers]

Hi,
I’m interested in a 16mm projector too. I like the Elmo 16-CL but they’re out 
of business.
Is there any company currently in business that can provide replacement parts 
that makes a good projector?
Thanks,
Robert

Robert Withers
withe...@earthlink.net
202 West 80 St #5W NYNY 10024
212-873-1353 land
212-203-3048 mobile



> On Jun 1, 2020, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:
> 
> Send FrameWorks mailing list submissions to
>   frameworks@jonasmekasfilms.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
>   https://mailman-mail5.webfaction.com/listinfo/frameworks
> or, via email, send a message with subject or body 'help' to
>   frameworks-requ...@jonasmekasfilms.com
> 
> You can reach the person managing the list at
>   frameworks-ow...@jonasmekasfilms.com
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of FrameWorks digest..."
> Today's Topics:
> 
>   1. Re: Experimental Response Cinema Contact (Michael Betancourt)
>   2. brooklyn loft sublet starting july 2020 (ev petrol)
>   3. Re: 16mm Film Projector (Francisco Torres)
>   4. Re: 16mm Film Projector (Chris Rodriguez)
>   5. Re: 16mm Film Projector (Chris Rodriguez)
>   6. Re: 16mm Film Projector (Scott Dorsey)
>   7. Re: 16mm Film Projector (Francisco Torres)
> 
> From: Michael Betancourt 
> Subject: Re: [Frameworks] Experimental Response Cinema Contact
> Date: May 31, 2020 at 10:22:11 AM EDT
> To: Experimental Film Discussion List 
> 
> 
> There is the issue of Incite (no. 4) that has an extensive listing of 
> microcinemas.
> 
> Michael Betancourt
> Savannah, GA USA
> 
> 
> michaelbetancourt.com <http://michaelbetancourt.com/> | vimeo.com/cinegraphic 
> <http://vimeo.com/cinegraphic>
> 
> On Sat, May 30, 2020 at 11:08 AM Margaret Rorison 
> mailto:margaret.b.rori...@gmail.com>> wrote:
> Hi Friends! 
> 
> I am helping a distributor with a list of contacts/microcinemas and I am 
> wondering who the contact is for ERC now that Scott Stark has moved. 
> 
> Is there a comprehensive list of microcinemas anywhere on the internet? 
> 
> thank you!
> Meg
> 
> ---
> http://margaretrorison.com/ <http://margaretrorison.com/>
> http://sightunseenbaltimore.com/ <http://sightunseenbaltimore.com/>
> 
> ___
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> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> <https://mailman-mail5.webfaction.com/listinfo/frameworks>
> 
> 
> 
> From: ev petrol 
> Subject: [Frameworks] brooklyn loft sublet starting july 2020
> Date: May 31, 2020 at 11:39:24 AM EDT
> To: "frameworks@jonasmekasfilms.com" 
> 
> 
> Hey folks,
> 
> just realised I had the wrong month in my last email (lockdown brain) - 
> corrected below!
> 
> There's a 16mm flatbed and projector in the loft, both in good working 
> condition.
> 
> cheers Moira
> I'm looking for a clean and reliable subletter for my old-school loft in 
> Brooklyn, from July 2020 till at least the end of the year (finalizing dates 
> at the mo, will discuss further in person; an earlier move in could also be 
> possible). The loft is big and spacious (approx 550 square feet) with 
> hardwood floors, high ceilings and great light; there’s a separate bedroom 
> and a large living room with basic kitchen (two hot plates, counter, fridge 
> and sink). The loft is fully furnished, close to two subway stops and has a 
> view of Manhattan (and lots of good books and music!). I'm an independent 
> filmmaker who will be travelling for work - the loft is my live/work space, 
> so I’m looking for someone who will respect and take care of it while I’m out 
> of town.
> Rent is $1620, this includes utilities (without a/c) and cleaning once a 
> month. Additional utilities (eg: if a/c used) will be paid by the subletter. 
> To secure the sublet I'll need 3 references, the 1st month’s rent and a 
> deposit of one month’s rent which I will return once you've moved out. The 
> replacement cost of anything missing or damaged will be subtracted from the 
> deposit. No pets allowed (non-negotiable). Get in touch for pix, further info 
> 
> 
> 
> 
> 
> From: Francisco Torres 
> Subject: Re: [Frameworks] 16mm Film Projector
> Date: May 31, 2020 at 2:30:47 PM EDT
> To: Experimental Film Discussion List 
> 
> 
> hope you find one soon
> sometimes public / private schools have some lingering in AV rooms
> gathering dust that they are eager to get rid of.
> some people i know ha

Re: [Frameworks] FrameWorks Digest, Vol 121, Issue 14: Subject: Experimental films on photography

[Robert Withers]

thanks for your interesting post Bernard Roddy. I’ve been reading a little 
Bergson too in my desultory fashion. 19th century science and engineering had 
some interesting ideas. I liked Bergon’s discussion of the unmeasurability of 
”intensity” though I think everything is measurable now. But who is interested 
in intensity?

Robert Withers
withe...@earthlink.net
202 West 80 St #5W NYNY 10024




> On Jun 11, 2020, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:
> 
> Send FrameWorks mailing list submissions to
>   frameworks@jonasmekasfilms.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
>   https://mailman-mail5.webfaction.com/listinfo/frameworks
> or, via email, send a message with subject or body 'help' to
>   frameworks-requ...@jonasmekasfilms.com
> 
> You can reach the person managing the list at
>   frameworks-ow...@jonasmekasfilms.com
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of FrameWorks digest..."
> Today's Topics:
> 
>   1. Re: Source for pdf's? (Dominic Angerame)
>   2. Supervisuel (Dominic Angerame)
>   3. Re: Source for pdf's? (Michael Campos-Quinn)
>   4. Experimental films on photography (Bernard Roddy)
>   5. Re: Experimental films on photography (John Muse)
>   6. Re: Experimental films on photography (John Muse)
>   7. Re: Experimental films on photography (Bernard Roddy)
> 
> From: Dominic Angerame 
> Subject: Re: [Frameworks] Source for pdf's?
> Date: June 10, 2020 at 10:00:08 AM EDT
> To: Experimental Film Discussion List 
> 
> 
> Joel’s book is not very expensive and worth purchasing if you are serious 
> about using a Bolex. I wish such a book was available when I first started 
> making 16mm films.
> 
> Dominic
> 
>> On Jun 9, 2020, at 1:08 PM, Justin Rhody > <mailto:justincliffordrh...@gmail.com>> wrote:
>> 
>> Anyone know where I can find pdf's of these books?
>> (or pdf's of other books you'd recommend?)
>> 
>> 
>> Experimental Filmmaking : Break the Machine - Kathryn Ramey
>> Process Cinema: Handmade Film in the Digital Age - Scott MacKenzie & Janine 
>> Marchessault 
>> Grafilm - J. Bryne Daniel
>> Experimental filmmaking and the Motion Picture Camera - Joel Schlemowitz
>> Making Images Move: Handmade Cinema and the Other Arts - Gregory Zinman
>> 
>> 
>> Thanks, Justin
>> ___
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>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> 
> 
> 
> From: Dominic Angerame 
> Subject: [Frameworks] Supervisuel
> Date: June 10, 2020 at 10:02:25 AM EDT
> To: Experimental Film Discussion List 
> 
> 
> I have one issue of this magazine Supervisuel #3
> 
> Supervisuell #3 Gregory Markopoulis article, STO PALIKARI, article by Jonas 
> Mekas, Bridget Hein article and llustration General Info by Robert Nelson 
> Cover: “The Mysteries” by Gregory Markopoulis and Photos from Robert Beavers 
> “Winged Dialogue” in German and English
> 
> If interested contact me off site.
> 
> Thanks
> 
> 
> 
> 
> 
> 
> From: Michael Campos-Quinn 
> Subject: Re: [Frameworks] Source for pdf's?
> Date: June 10, 2020 at 11:47:15 AM EDT
> To: Experimental Film Discussion List 
> 
> 
> We have a lot of these books in the PFA library (you're in the Bay Area 
> right?). In the next couple of months when things reopen you will be able to 
> drop in to read them all you want. And if there's a title we don't have that 
> you want we can maybe buy it. Public libraries can also request to borrow 
> titles from other libraries for free, check out Oakland Public Library and 
> SFPL.
> 
> Michael 
> 
> 
> On Wed, Jun 10, 2020 at 7:00 AM Dominic Angerame  <mailto:dominic.anger...@gmail.com>> wrote:
> Joel’s book is not very expensive and worth purchasing if you are serious 
> about using a Bolex. I wish such a book was available when I first started 
> making 16mm films.
> 
> Dominic
> 
>> On Jun 9, 2020, at 1:08 PM, Justin Rhody > <mailto:justincliffordrh...@gmail.com>> wrote:
>> 
>> Anyone know where I can find pdf's of these books?
>> (or pdf's of other books you'd recommend?)
>> 
>> 
>> Experimental Filmmaking : Break the Machine - Kathryn Ramey
>> Process Cinema: Handmade Film in the Digital Age - Scott MacKenzie & Janine 
>> Marchessault 
>> Grafilm - J. Bryne Daniel
>> Experimental filmmaking and the Motion Picture Camera - Joel Schlemowitz
>> Making Images Move: Handmade Cinema and t

Re: [Frameworks] Quote of the Day

[Robert Schaller]

Thank you, Francisco!  That's probably what it was.  Evolutionary Psychology of 
Henri Laborit, not Sociobiology of E.O. Wilson.  Not dissimilar projects 
though, it would seem.

> On May 5, 2020, at 11:56 AM, Francisco Torres  wrote:
> 
> Could be the American Uncle by Resnais. Which if I recall well takes a
> rather conflicting and comple view of its subject. But then he was
> French... ;)
> 
> 
> ''Who decides?  Who decides who decides?'' Reminds me of the final
> scene of 3 days of the Condor.
> 
> The only movie about epidemics I like is The Andromeda Strain. The
> third act reveal is quite a shock even after almost 50 years. In one
> brief scene it manages to say so much ! but that was the 70s, SF
> movies were very HEAVY. Take Rollerball, for example. Today it looks
> like a reality show or the evening news. Oh well. This are sure some
> messed up times I never thought I would live through some entropic
> thing like this. Nuclear war? Yes. Mad Max?  Yes. But this slow motion
> Ballard catastrophe? No way.
> So back to the ancients for advice-
> ''The Way of the Samurai is found in death. Meditation on inevitable
> death should be performed daily. Every day when one's body and mind
> are at peace, one should meditate upon being ripped apart by arrows,
> rifles, spears and swords, being carried away by surging waves, being
> thrown into the midst of a great fire, being struck by lightning,
> being shaken to death by a great earthquake, falling from
> thousand-foot cliffs, dying of disease or committing seppuku at the
> death of one's master. And every day without fail one should consider
> himself as dead. This is the substance of the way of the samurai''.
> Yamamoto Tsunetomo,
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Re: [Frameworks] Quote of the Day

[Robert Schaller]

True, there is that "We,"  and I think you're right about the preferability of 
"Stone Age emotions," since, being basically the same kind of creatures today 
as those that evolved some 250,000 years ago, our emotions are even older -- 
far older -- than the stone age, and we would do well to know and accept 
ourselves, rather than embracing some ideology of imperative progress that 
judges us inadequate.  I allowed myself, reading the quotation, to gloss over 
the references to "a Star Wars civilization" and "godlike technology."

So your criticism of this quotation is as on-target as a criticism of 
sociobiology etc. in general.  Discussion is a great curative to not seeing 
clearly!

Perhaps "we" in this context can be understood, then, as a reference, not to 
all of humanity, but to the subculture of which Mr. Wilson is a part?

If we're unpacking Wilson's words, I took particular umbrage at the idea of 
"godlike technology." Technology is not a living being, and certainly not a 
god. It has no will.  It may have a nature that more or less perceptibly guides 
the actions of those who use it -- as the old saying puts it, when all you have 
is a hammer, everything looks like a nail -- but I don't think  that  having 
that sort of influence on human action qualifies it as "godlike," certainly not 
in any positive sense of that term.  It is just a tool, wielded by someone for 
some purpose, regardless of the other purposes it might conceivably serve.  It 
is developed by someone, controlled by someone according to some rules 
dictating its availability to anyone else.  It is never neutral.  

A case in point is that we (and by this I am referring to many of us all over 
the world) are awaiting a Corona virus vaccine -- a technology, a tool -- but 
what then?  It's not as if it will magically appear everywhere for everyone.  
Who will own it?  What rules will be applied to its production, its 
availability, its distribution?  As Shoshana Zuboff might ask, Who decides?  
Who decides who decides?

To bring this back to film (or at least to movies), there was, some forty years 
ago, a movie that I saw at an "art" cinema about sociobiology, that, among 
other things, depicted (as I recall) an office conflict between two executive 
types, then repeated the scene with characters in giant rat costumes, to make 
the sociobiological point.  Does anyone remember what that film was?  As a 
teenager, I thought it was clever, but in light of Francisco's thoughts, I 
wonder how it would seem now, and what other ideas in it might have got into my 
head, unnoticed...

Also, I feel like I haven't seen Contagion or any of the films or shows about 
pandemics.  How do they usually deal with the political side of a cure or 
vaccination -- who owns it, who gets it, who decides, who decides who decides 
-- as opposed to the technical side of it?

> On May 3, 2020, at 8:15 PM, Francisco Torres  wrote:
> 
> What bothered me the most was-
> ''We have created a Star Wars civilization, with Stone Age emotions...''
> ''We''? Also I do not see ''stone age emotions'' as negative, we may
> need more of those and less ''civilization''.
> 
> 2020-05-03 19:51 GMT-04:00, Robert Schaller :
>> I just read a story in the Thousand and One Nights, in which a prince
>> survives many disasters in which others die, and was judged blameless
>> because "so it was written."  I thought, that's an awfully convenient thing
>> to be able to say if you happen to be one of those on top already!
>> 
>> Then I read Fransisco's criticism of Wilson, and find similar words in his
>> objection.  This feels almost like a dream, this time we're in.  It seems to
>> affirm the rather evocative description of the human condition in what Gene
>> actually quoted from Wilson.  Time and life have become dreamlike, and the
>> world notably chaotic.  I talked to a friend on the phone the other day, and
>> felt like I had just seen him, in person -- but, no, it had only been a
>> video conference.  Even though I know I've been home for almost two months,
>> I had to think about it!
>> 
>> And I am grateful for Francisco's criticism, for it prodded me to at least
>> minimally read more about E.O Wilson, whom I had really only known as a
>> name.  While I don't see it in this particular quotation, he lays out what
>> seems like a reasonable line of criticism.
>> 
>>> On May 2, 2020, at 11:21 PM, Francisco Torres 
>>> wrote:
>>> 
>>> It seems harsh to put the responsability of our current situation on
>>> all of humanity when actually it is the product of decisions taken
>>> since ancient times by those in power and not by anything like ''human
>>> nature''. If today the Amazon burns and Afr

Re: [Frameworks] Quote of the Day

[Robert Schaller]

I just read a story in the Thousand and One Nights, in which a prince survives 
many disasters in which others die, and was judged blameless because "so it was 
written."  I thought, that's an awfully convenient thing to be able to say if 
you happen to be one of those on top already!

Then I read Fransisco's criticism of Wilson, and find similar words in his 
objection.  This feels almost like a dream, this time we're in.  It seems to 
affirm the rather evocative description of the human condition in what Gene 
actually quoted from Wilson.  Time and life have become dreamlike, and the 
world notably chaotic.  I talked to a friend on the phone the other day, and 
felt like I had just seen him, in person -- but, no, it had only been a video 
conference.  Even though I know I've been home for almost two months, I had to 
think about it!

And I am grateful for Francisco's criticism, for it prodded me to at least 
minimally read more about E.O Wilson, whom I had really only known as a name.  
While I don't see it in this particular quotation, he lays out what seems like 
a reasonable line of criticism.  

> On May 2, 2020, at 11:21 PM, Francisco Torres  wrote:
> 
> It seems harsh to put the responsability of our current situation on
> all of humanity when actually it is the product of decisions taken
> since ancient times by those in power and not by anything like ''human
> nature''. If today the Amazon burns and African rainforest are razen
> it is because decisions taken in boardrooms and presidential palaces
> and, if we want to go further back, when Columbus and Da Gama got
> money and ships to ''discover'' America and Africa...
> 
> But that is a political view of history, one that seems to be rapidly
> being replaced by others like the one created by Mr. Edward O. Wilson,
> Sociobiology.  In Sociobiology we humans have no other choice but to
> compete against each other without any hope of ever getting out of the
> systems of control and explotation created by the state and capital.
> After all it is our genes who are on the driver seat, selfish genes
> who only care for their replication. So why despair about domination
> and destruction of all of nature then?  A very useful ideology to
> those sitting at the top of the heap because it makes them feel better
> by liberating them of responsability and for the rest of us who expect
> to accept the rule power as the only possible way of living. ''Dont
> worry, if it is just the way of nature, the strong survive and the
> weak perish, either on the forest or the stock market''. That sounds
> just like the words  the priestly caste have been feeding us since
> Babylon.
> ___
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> 



>> “Humanity today  is 
>> like a waking dreamer, caught between the fantasies of sleep and the chaos 
>> of the real world. The mind seeks but cannot find the precise place and 
>> hour. We have created a Star Wars civilization, with Stone Age emotions, 
>> medieval institutions, and godlike technology. We thrash about. We are 
>> terribly confused by the mere fact of our existence, and a danger to 
>> ourselves and to the rest of life.”  
>>  ~ Edward O. Wilson
>> 
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[Frameworks] Long shot: Looking for Canon Scoopic 16m

[Robert Withers]

Hi Mike,
I believe DuAll Camera in NYC may sell these since they have serviced my 
earlier model and have asked to buy it from me.
Good luck,
Robert

Robert Withers
withe...@earthlink.net





> On Apr 26, 2020, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:
> 
> Send FrameWorks mailing list submissions to
>   frameworks@jonasmekasfilms.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
>   https://mailman-mail5.webfaction.com/listinfo/frameworks
> or, via email, send a message with subject or body 'help' to
>   frameworks-requ...@jonasmekasfilms.com
> 
> You can reach the person managing the list at
>   frameworks-ow...@jonasmekasfilms.com
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of FrameWorks digest..."
> Today's Topics:
> 
>   1. Long shot: Looking for Canon Scoopic 16m (Mike Stoltz)
>   2. Re: Long shot: Looking for Canon Scoopic 16m (Scott Dorsey)
>   3. Re: Long shot: Looking for Canon Scoopic 16m (Robbie Land)
>   4. Re: Long shot: Looking for Canon Scoopic 16m (Jon Behrens)
> 
> From: Mike Stoltz 
> Subject: [Frameworks] Long shot: Looking for Canon Scoopic 16m
> Date: April 25, 2020 at 5:39:49 PM EDT
> To: frameworks@jonasmekasfilms.com
> 
> 
> Hi all,
> 
> I hope that this e-mail finds everyone safe and relatively sane in this wild 
> time.
> 
> This is a shot in the dark but I am wondering if anyone in the US has a line 
> on a Canon Scoopic 16M or MS (the black camera with the black rectangular 
> case, not the earlier regular Scoopic with grey body and silver case) that is 
> in proper working order and is for sale? Do you have one lying around? What 
> would be your price to let it go.
> 
> I am very familiar with these cameras so to the heads on here please save 
> your time trying to talk me out of buying one, this camera does things my 
> Bolex cannot and vice versa, and I know they are difficult/impossible to 
> repair. I'm looking to replace one that has come to the end of its run and 
> hoping to purchase from someone with knowledge of film cameras rather than a 
> random ebayer,
> 
> Let me know if you have any leads, and thanks
> 
> Mike Stoltz
> stoltz.m...@gmail.com <mailto:stoltz.m...@gmail.com>
> 
> 
> 
> 
> 

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[Frameworks] 1. when was the film splicer invented? (mstark...@gmail.com)

[Robert Withers]

When I was working with 16mm film in the late ’60s we used two kinds of tape 
splicers for work print:
the ”Guillotine,” which cut with a metal side blade and the ”Rivas,” which cut 
with a metal blade and usually cut the splicing tape with a serrated plate on 
top of the splice in the middle of the frame. Pennebaker and maybe others 
redesigned Rivas splicers by attaching a small razor cutter that would cut the 
tape on the frame line, making a more-or-less ”invisible” splice. 
I think a Guillotine splicer was used in 35mm also.
For a permanent glue splice a ”hot splicer” was used in both 16mm and 35mm, 
which cut a frame with a metal block. You would lose a frame with each splice 
and the splice was visible unless used with black leader in the ”A & B roll” 
contact printing system.
What happened between the 1920s and the 1960s? I’ve seen that picture of 
Elizaveta Svilova but I’m curious about Peter Kubelka. 
Cheers,
Robert

Robert Withers
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[Frameworks] 1. Looking to buy Bolex or similar (George Monteleone)

[Robert Withers]

DuAll sells Bolexes and S-8 Canons and others.
They recelled my Scoopic batteries while I was standing at the counter.
I might look on Ebay or Craig’s list.
Robert

Robert Withers
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[Frameworks] Bruce Baillie

[Robert Harris]

If you’d like to spend an hour remembering Bruce Baillie, you might appreciate 
this on Vimeo.
Posted by Sami van Ingen. I hope they don’t mind my sharing.

https://vimeo.com/173037454


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Re: [Frameworks] Bruce Baillie

[Robert Harris]

I believe Bruce already did brilliant work exploring the Bardo in Quick Billy.
Now he knows

BH

> On Apr 10, 2020, at 4:09 PM, William Wees, Dr.  wrote:
> 
> Reading the sad news, I suddenly found myself thinking of the dancing woman 
> in "Tung" as Bruce's spirit-guide into darkness.
>  
> --Bill Wees
> 
>  
> William C. Wees
> Emeritus Professor
> McGill University
>  
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Re: [Frameworks] book club

[Robert Harris]

Gene,

I only have a first edition of the original publishing. Have segments been 
re-written?

R.Harris

> On Apr 3, 2020, at 1:06 PM, Gene Youngblood  wrote:
> 
> Frameworkers,
> The Gray Area Foundation in San Francisco is hosting a seven-week online 
> "book club" reading of the 50th Anniversary Edition of Expanded cinema. It 
> begins this Sunday, April 5, and continues one hour a week for the followng 
> six weeks. We’ll use the chapters as springboards to topics beyond its pages. 
> Something to do while we’re sequestered. They’re using Zoom. Sign up here:  
> grayarea.org/event/expanded-cinema-book-club-with-gene-youngblood/ 
> 
> 
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Re: [Frameworks] Independent research- looking for recommendations

[Robert Harris]

“Undertow” Eiko & Kota filmed by James Byrne. 

> On Jan 24, 2020, at 8:13 PM, Robert Harris  wrote:
> 
> 
> Many photo sequences by  Eadweard Muybridge.
> 
>>> On Jan 24, 2020, at 1:01 PM, Madison Bounds  
>>> wrote:
>>> 
>> 
>> Dear Frameworks,
>> 
>> I am working on an independent research project for a thesis project and 
>> think the great community here might help me out. 
>> 
>> My project involves films that document/ involve the body. Along the lines 
>> of Yoko Ono's work, Stan Brakhage’s “The Act of Seeing With One’s Own Eyes".
>> 
>> Does anyone have recommendations for similar films I can study?
>> 
>> Thank you,
>> 
>> Madison 
>> 
>> 
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Re: [Frameworks] Independent research- looking for recommendations

[Robert Harris]

Many photo sequences by  Eadweard Muybridge.

> On Jan 24, 2020, at 1:01 PM, Madison Bounds  wrote:
> 
> 
> Dear Frameworks,
> 
> I am working on an independent research project for a thesis project and 
> think the great community here might help me out. 
> 
> My project involves films that document/ involve the body. Along the lines of 
> Yoko Ono's work, Stan Brakhage’s “The Act of Seeing With One’s Own Eyes".
> 
> Does anyone have recommendations for similar films I can study?
> 
> Thank you,
> 
> Madison 
> 
> 
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[Frameworks] streaming media options?

[robert]

I have another question that I would like to throw out to the collective 
knowledge of the frameworks community.

If one wants wants to put digital videos online on a streaming server, are 
there non-commercial options (that is, not youtube and not vimeo) could anyone 
recommend?

I figure this would include existing services one might use, and also setting 
up a streaming feature on ones own website (say, using php or the like).

Thanks in advance for any suggestions!

--RS
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Re: [Frameworks] How do people encode DVDs for international distribution? NTSC / PAL?

[Robert Schaller]

Thanks for all the helpful advice!  

--RS

> On Jan 5, 2020, at 8:33 AM, FrameWorks Admin  wrote:
> 
> Dear Taka,
> For your films in distribution for public screening (16mm prints at Light 
> Cone etc) the speed is correct of course.
> At Re:Voir we are just selling the DVDs you produce in Tokyo and send to us. 
> I suppose they are playing at 25fps. But they are only for home use and not 
> used in public screenings. 
> Your films such as “24 frames a second” would be impossible to show correctly 
> from DVD, I’m afraid. Whereas VOD, file streaming or Blu-Ray can run at 24.
> Pip
> 
> 
> 
>> On Jan 5, 2020, at 8:09 AM, Takahiko iimura  wrote:
>> 
>> Dear Pip
>> Good to hear on speed from you.
>> I have given many prints of my film to Re-Voir for distribution which were 
>> made mostly in the US with 24 fps, I believe.
>> Does it affect for your distribution and screening in Europe? And if so, 
>> what has been done to correct the speed?
>> 
> 
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Re: [Frameworks] Mac OS Catalina

[robert]

Thank you, Adam, for putting this so clearly!  It explains the periodic 
warnings I get about programs I run being incompatible with future OS 
releases.


I'm sorry to hear Dominic and others are suffering because of Apple's 
callous imposition.


--RS

On 2020-01-10 11:35, Adam Hyman wrote:

Yes, they are tech companies who are trying to sell things under the
guise that it helps your creativity.  They are criminal in the way
that all wealthy people and companies under capitalism are criminal.
Also remember, that Apple is trying to get everyone to move things to
the Cloud, and then they can charge you for using their cloud.

First, to help others before they run into this, there are several
general rules before updating an Operating System.
1. Always backup everything to an external hard drive
2. Always backup everything to a second external hard drive
And ideally,
3. If on a Mac, use Time Machine regularly so you have a third backup.
 Disconnect it before upgrading the OS (reconnect it only when the new
OS is working to your liking)
4. In general, always have all your media on at least two separate
hard drives always, because all hard drives die at some point.  Never
have your media only on your computer.

Then
If your system is working for you, DON'T update the OS, no matter how
many times they encourage you to.  (I'm still running El Capitan)
And if you think you want to update the OS, first look around online
to see what issues & problems people have had when changing to that
OS.
PEOPLE HAVE HAD A LOT OF ISSUES WITH CATALINA.  FOR ONE THING, IT
DOESN’T LET YOU PLAY MEDIA IN MANY OLDER CODECS.

THIS IS AN IMPORTANT ISSUE.  AGAIN, THE CATALINA UPDATE HAS MADE IT
NOT POSSIBLE TO SEE MEDIA FILES WITH OLDER CODECS.  READ THIS PAGE AT
LENGTH:

HTTPS://LARRYJORDAN.COM/BLOG/IMPORTANT-DONT-LOSE-ACCESS-TO-OLDER-MEDIA/

"NOTE: TO BE VERY CLEAR, APPLE CONFIRMED THAT “MACOS MOJAVE —
INCLUDING ALL DOT RELEASES OF THIS OPERATING SYSTEM — WILL BE
THE LAST MAJOR VERSION OF MACOS TO SUPPORT THE LEGACY 32-BIT CODECS
IDENTIFIED IN THIS ARTICLE.”
"You may have seen the ominous warning in Final Cut about legacy
media. Apple released an update to their KnowledgeBase website which
includes MUCH more detail on what codecs are affected and which ones
are not."

Here's the link: https://support.apple.com/en-us/HT209000
For helping with this issue, have you spent time in Apple Forums
asking this question, and checking other google searches asking this
question?  You are probably not the first person to have this issue.
Are the files actually gone (have you searched your hard drive, in
your library, etc), or are you not able to access them through the
pathway or program that you had been using?

Here are some discussions with different answers:
First, from the Larry Jordan thread above:
"I recently migrated to Catalina, and am one of those who didn't have
my eye on this upcoming problem. Once in the 64-bit Catalina world, I
can no longer open older codec MOV files, even in Compressor, and
therefore am having trouble figuring out how to convert them. Do you
have any suggestions for how to address this now, without having to
revert my entire OS to 32-bit or create a whole additional partition
on the machine? Thanks!"
"Laurence:  Smile… I've been expecting your email since I first
started writing about how Catalina is making older media inaccessible
a year ago.  However, there's hope! Check out the latest version of
Kyno (1.7) from LessPain Software. It can convert legacy media even
after you've updated to Catalina. (https://lesspain.software/kyno/) "
-- Larry
"Just when I think I understand Catalina I read a tweet or article
that confuses me…  So there's no longer a Macintosh HD > Library >
QuickTime folder with .components, correct? I don't have access to a
machine with Catalina to look."
"That folder and the components it contains is still there. What isn't
there is support for older 32-bit codecs."

Apparently Premiere, and possibly Avid, can still open the older
media, maybe.

These are generally dealing with documents not media files:
https://discussions.apple.com/thread/250742021
https://www.doyourdata.com/mac-data-recovery/recover-lost-files-after-upgrade-to-macos-catalina.html
https://iboysoft.com/mac-data-recovery/recover-lost-data-after-macos-update.html
https://www.stellarinfo.com/article/recover-files-after-mac-catalina-upgrade.php

Some things that come up are in the first discussion thread above are:

"I just saw a new folder on my desktop titled Relocated Items
evidently created by the upgrade containing the missing data. The
'what are relocated item' document indicates missing files/folders are
in a location incompatible with macOS security settings. Am I to
understand that I can no longer create a folder on my HD?"
"No, you can't. In Catalina, the system is a separate, read-only
volume. You can't create folders on the top level of the drive."
"Thanks Luis, for a moment I thought I was really screwed. Can I

[Frameworks] How do people encode DVDs for international distribution? NTSC / PAL?

[robert]

I have a question that frameworkers might be able to help with.

I and a collaborator recently received a grant in Denmark to put a 
number of experimental films on DVD and/or BluRay.  What we have run 
into is this: the films are at 24fps, both made at that speed visually 
and for the music that was written for them.  In Denmark, the DVD 
company only encodes at 25fps in PAL.  This is the wrong speed for both 
the picture and the music.  BluRay works fine.  One option that has been 
suggested is to just make the BluRay and provide a link to watch the 
original file online.  I don't especially like this option, but I'm not 
sure I see another way.


The problem isn't really that the DVD would be PAL, it's that the speed 
is wrong.


What have others of you done in this sort of situation?

Thanks for any stories or recommendations!

Robert Schaller
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Re: [Frameworks] Camera question

[Robert Harris]

Re: Warhol in manhole with camera and a young Edie (hence not 70’s)

Could it be a Nizo held upside down? Perhaps handle is folded, hence less 
visibly obvious?
The Silver box like shape, and the dark rectangular bar are consistent with 
Nizo bodies.  Wide lens in proportion to body also make some sense.

Bob Harris

> On Dec 11, 2019, at 7:39 PM, Jeff Kreines  wrote:
> 
> The Nalcom FTL 1000 was apparently made between 1973 and 1976.
> 
> Jeff Kreines
> Kinetta
> j...@kinetta.com 
> kinetta.com 
> 
>> On Dec 11, 2019, at 6:34 PM, deluge000 > > wrote:
>> 
>> It may be a modified Nalcom FTL by the shape. The faceplate is different on 
>> Warhol's camera seems larger as well not sure.
>> 
>> 
>> 
>> Sent from my Sprint Samsung Galaxy Note8.
>> 
>>  Original message 
>> From: Ed Inman mailto:edin...@earthlink.net>>
>> Date: 12/11/19 5:01 PM (GMT-07:00)
>> To: Experimental Film Discussion List > >
>> Subject: Re: [Frameworks] Camera question
>> 
>> I would like to know too. I wonder if it was a real working camera or rather 
>> just a prop. The placement of the lens at the very top seems odd. I don't 
>> think there would be room to place a Super 8 cartridge inside with the lens 
>> in that position. --Ed
>> 
>> -Original Message- 
>> From: "Claire Henry, Curatorial" 
>> Sent: Dec 11, 2019 3:03 PM 
>> To: Experimental Film Discussion List 
>> Cc: "Jessica Palinski, Curatorial" 
>> Subject: Re: [Frameworks] Camera question 
>> 
>> Ack, here’s the link.  Apologies!
>>  
>> Claire
>>  
>>  
>> https://pro.magnumphotos.com/Catalogue/Burt-Glinn/1965/USA-NYC-Andy-WARHOL-Edie-SEDGWICK-and-Chuck-WEIN-NN112607.html
>>  
>> 
>>  
>>  
>> From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com 
>> ] On Behalf Of Claire Henry, 
>> Curatorial
>> Sent: Wednesday, December 11, 2019 4:00 PM
>> To: Experimental Film Discussion List (frameworks@jonasmekasfilms.com 
>> ) > >
>> Cc: Jessica Palinski, Curatorial > >
>> Subject: [Frameworks] Camera question
>>  
>> Hi Frameworkers!
>>  
>> We need some help identifying a camera in a photo of Warhol for our 
>> catalogue raisonné.  Does anyone know what kind of camera Warhol is holding 
>> in these photos by Burt Glinn from 1965?  I’m thinking Super 8, but am 
>> unsure.  If anyone could provide any help that would be amazing and very 
>> welcomed.
>>  
>>  
>> Thanks!
>>  
>> 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: 212 929 2019
>>  
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Re: [Frameworks] Maurice Maeterlinck - Death ,1911

[Robert Haller]

Please unsubscribe me from this list / all future email messages. - Haller

From:  giuseppe boccassini 
Reply-To:  Experimental Film Discussion List

Date:  Tue, 10 Dec 2019 18:46:18 +0100
To:  
Subject:  [Frameworks] Maurice Maeterlinck - Death ,1911

Hey there Frameworkers,

does anyone know places where I can get this book:
Maurice Maeterlinck - Death ,1911

It seems a bit controversial edition standing on what wikipedia says:
La Mort (Our Eternity ,first published in English, incomplete version
entitled Death ,1911; in enlarged and complete version in original French,
1913)

Thank you 
Have a nice day
Giuseppe


-- 
Giuseppe Boccassini
the tension to the invisible

filmmaker 
lightcone 
fracto
 
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[Frameworks] Help with digitizing reel-to-reel tapes

[Robert Withers]

Hello,
I asked about this a couple years ago and somebody offered help/services.
I have 24 7 inch reels and 12 5 inch reels of tape that need to be digitized, 
dating from the 1960s-1970s. Mostly some kind of stereo, 7 1/2 ips, some 3 3/4.

Can anyone offer this service or recommend a service to digitize these?
I think some people at Harvestworks in NYC can do this — does anyone have a 
name?

I’d like to work with folks in NYC so as not to get involved with shipping 
precious archival tapes. 

Many thanks,
Robert

Robert Withers
withe...@earthlink.net
202 West 80 St #5W NYNY 10024
212-873-1353 land
212-203-3048 mobile



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[Frameworks] Premiere alterantive

[Robert Withers]

I’ve been using Premiere for a few years, on a ”legacy project” — have kept 
working with the CC version released in 2013 and the ”2014” version on a MBP 
running Mountain Lion. The suite works well — I’ve used Media Encoder a lot.

But I hate the rental system and the relentless updates, so decided to try the 
free Da Vinci Resolve 15, just with small test projects on an underpowered MB 
Air running Mojave.

Both these programs are overcomplicated for my needs — compared to film editing 
tools. But they do things that film labs and optical printers used to do. All 
those tiny buttons with graphic icons — you have to use a program a lot to 
remember what they do. FCP 7 was similar. 

Interestingly, the little MB Air runs the latest premier CC version 2019? but 
huffs and chugs to get it loaded. Resolve loads much faster. 

I like the softwares that use the fixed timeline approach, starting with FCP 7 
so have avoided the FCP Xs.

Though I could imagine using X to compose a film the way you can compose music 
out of free-floating fragments on a page. But it wouldn’t be aleatory once you 
exported it. It seems that people only use it to make films that could have 
been conceived with fixed timelines. As a different kind of paste-up.

Do NLE’s have any influence on the aesthetic results of a film process? Or are 
they just like rewinds and Steenbecks and KEMs — the film doesn’t care what 
machine you edit on.

I’ve seen folks do interesting things with stacking or layering timelines, 
which is a kind of new way of editing that would have been even more laborious 
than optical printing. 

Robert







Robert Withers
withe...@earthlink.net
202 West 80 St #5W NYNY 10024




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Re: [Frameworks] suggestions for experimental road movies and/or experimental films about automobility

[Robert Harris]

Bryan,

Suite of Summer Evenings
Burning Memories Pt.1: Forbidden Songs
both by Robert Harris, shown in past “Experiments” festivals.

And also, yet unmentioned…

Shift, Ernie Gehr
The BLVD, Deborah Stratman
Rules of the Road, Su Friedrich
Hot Leatherette, Robert Nelson





> On Jul 22, 2019, at 6:50 AM, Bryan Konefsky  wrote:
> 
> Hello all, I am in the process of building a program that looks at 
> automobility and road movies from an experimental perspective... wondering if 
> anyone has suggestions about artists' films that study this topic... Titles 
> and links would be preferable and I am open to both historic and current 
> works - if you have made something along these lines I would be happy to have 
> the opportunity to view such films/videos as well.
> 
> thanks everyone
> Bryan Konefsky
> president, Basement Films
> founder/director, Experiments in Cinema
> 
> Great art has always gone to the masses, to their hopes and dreams, for that 
> spark that kindled their souls. The rest, "the many, all too many" as 
> Nietzsche called mediocrity, have been mere commodities that can be bought 
> with money, cheap glory, or social position.
> - Emma Goldman
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Re: [Frameworks] examples of "first encounters"

[Robert Harris]

Hold Me While I’m Naked, is a great suggestion. But I always took it very 
seriously. He’s an everyman lonely filmmaker boy from the Bronx hope to get a 
girl by having her star in his film.
It’s a sweet sad film.


> On May 14, 2019, at 11:35 AM, Jonathan Walley  wrote:
> 
> One of my favorites, albeit a parody of such moments, is from Hold Me While 
> I’m Naked (George Kuchar, 1966). I hate to have to reference a YouTube rip, 
> but it’s worth it:
> https://www.youtube.com/watch?v=FCB6xSHHG50 
> <https://www.youtube.com/watch?v=FCB6xSHHG50>(See 7:29-7:53 for the example, 
> including the perfect timing of match strike and percussion instrument at 
> about 7:45). 
> 
> Of course, it’s not meant to be taken seriously. 
> 
> Or is it…
> 
> JW
> 
> 
> Dr. Jonathan Walley
> Associate Professor and Chair
> Department of Cinema
> Denison University
> 
> 
> 
>> On May 14, 2019, at 11:06 AM, Robert Harris > <mailto:lagonab...@gmail.com>> wrote:
>> 
>> Mood for Love, Wong Kai Was
>> 
>> 
>> 
>>> On May 14, 2019, at 10:38 AM, jimmyschaus1 >> <mailto:jimmysch...@gmail.com>> 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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>> 
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Re: [Frameworks] examples of "first encounters"

[Robert Harris]

Rabbit’s Moon, Kenneth Anger

> On May 14, 2019, at 10:38 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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Re: [Frameworks] examples of "first encounters"

[Robert Harris]

Mood for Love, Wong Kai Was



> On May 14, 2019, at 10:38 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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Re: [Frameworks] Rob Todd question - Fusion Film Workshop (Boston area)?

[Robert Harris]

Mark,

I forwarded your question to Jeff Silva, as he was very active in the Boston 
film scene at that time (lately he’s living in Marseille).

He wrote this:

I know nothing of this Fusion film workshop. I was around and hanging out with 
Rob at that time but I don't recall that name. It might have had something to 
do with BFVF but I can't recollect that precise name of a workshop. We also had 
a thing at what is now AgX in Waltham called "Lost Monday's" run by Devon 
Damonte which was more of a weekly hang out and camerless filmmaking thing. The 
only person I can think of who might know is Vanessa O'Neil but i haven't been 
in contact with her for a while.

Bob Harris

> On Apr 9, 2019, at 3:01 PM, Mark Toscano  wrote:
> 
> Hi all,
> 
> Does anyone know anything about the Fusion Film Workshop, which was something 
> going on in Boston area 1998-2000 or thereabouts?
> 
> Asking because in Robert Todd's collection, there are a few prints of a 
> trailer presumably made by Rob, culminating in "Fusion Film Workshop 
> presents".  A search online brought up info on an event so named which took 
> place in Beverly, MA in July 2000 at the New Harbor Media Institute, but one 
> of Rob's prints is actually dated Spring 1998, so I'm guessing this wasn't a 
> one-time thing.
> 
> Bottom line, I'm just hoping to figure out what this thing is.  Anyone know?
> 
> thanks very much,
> 
> Mark Toscano
> 
> 
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[Frameworks] "All the Dark Screens" (Albert Alcoz)

[Robert Withers]

Hello Albert,
I enjoyed a few minutes of the film you posted, even with my non-existent 
Spanish.

It raises a question I’ve puzzled over. We used to be bemused by the fact that, 
since film projection is intermittent and interrupted by a shutter, blocking 
light to the screen, we were perhaps sitting in darkness during half of a 
screening, watching the persistent images in our minds. It’s hard to research 
how video technology works comparatively, but I find some suggestions that 
there is no similar dark interval in video projection (if there is it’s 
fleeting — the blanking interval etc.) so I wonder how the video technology 
affects our physiology.

Can anyone share info or a source for info or thoughts on info about this? 

Thanks,
Robert

Robert Withers
withe...@earthlink.net
202 West 80 St #5W NYNY 10024


From: Albert Alcoz mailto:albertal...@gmail.com>>
Subject: [Frameworks] "All the Dark Screens"
Date: March 30, 2019 at 4:15:03 AM EDT
To: Experimental Film Discussion List mailto:frameworks@jonasmekasfilms.com>>


Hello,

I'm writing this email to share a video essay titled "All the Dark Screens" 
created by the curator Alexandra Laudo and me under the project Soy Cámara by 
the CCCB:
http://www.cccb.org/en/multimedia/videos/all-the-dark-screens/231229 
<http://www.cccb.org/en/multimedia/videos/all-the-dark-screens/231229>

It is a 25 minute video –with an Spanish voice over– where some esthetic and 
ideological issues are exemplified through experimental films and artist's 
videos:

In a society dominated by the power of screens and images, audiovisual darkness 
can be a strategy of resistance. We tend to associate screens with light, but 
darkness has been consubstantial with audiovisual creation since the dawn of 
the cinema. “All the Dark Screens" presents a fragmentary genealogy of the use 
and presence of opacity and the absence of image in cinematographic and video 
creation, and reflects on the poetic and political power of these forms of 
audiovisual iconoclasm, and on their relation with our ways of seeing and not 
seeing.

The points of departure are the video/action by Scott Stark switching off 
public TV monitors ("A Better World (for Rick P)" <https://vimeo.com/11156435> 
) and the idea questioned here by Yoel Miranda on October of 2007 ("how much of 
what we see is black?" <http://www.hi-beam.net/fw/fw36/0610.html>).

Since it is an informative and pedagogical video, with dozens of short clips by 
independent filmmakers credited at the end, would be great if you to share it 
through social networks.

All the best,
Albert Alcoz
-- 
http://visionaryfilm.net/ <http://www.visionaryfilm.net/>
http://albertalcoz.com/ <http://www.albertalcoz.com/>
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Re: [Frameworks] Drone vision and violence in experimental film/video art

[Robert Harris]

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

[Robert Withers]

Hi all, 
I plan to get my Elmo ST-600 S-8 projector lubed and running — any tips for 
recording digital with a mirrorless camera. I have a lot of S-8 to convert. 
Are there any especially useful devices or screens?
Or just get the camera close to the projector to minimize keystoning?
Thanks,
Robert


Robert Withers
withe...@earthlink.net
202 West 80 St #5W NYNY 10024

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[Frameworks] Repairing and servicing an Elmo S-8 Sound projector

[Robert Withers]

Hello,
I had a reference a few years ago for someone who said he could do this but 
times change.

Any references who could do minor servicing and tune up this machine in the New 
York City area?

Thanks, 
Robert Withers
withe...@earthlink.net


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Re: [Frameworks] Films about the clock

[Robert Harris]

Bleu Shut by Robert Nelson

> On Oct 27, 2018, at 8:07 AM, Albert Alcoz  wrote:
> 
> Hello frameworkers,
> 
>  
> 
> I’m trying to write a short article in spanish about different notions of 
> time concerning contemporary experimental film and video. Since the concept 
> of “time related to cinema” is almost impossible to delimit I have decided to 
> concentrate just about the clock.
> 
>  
> 
> So, i’m searching films and videos where the clock is an important 
> object/issue for the development of the piece. By now I have just found 
> appropiation works as 60 Seconds (2002) by Christoph Girardet and The Clock 
> (2012) by Christian Marclay but i’m sure there are dozens.
> 
>  
> 
> There’s a brilliant film by Chris Gallagher named Time Being (2009) that 
> could also be useful to theorize some ideas but I need some more titles.
> 
>  
> 
> Any suggestions?
> 
>  
> 
> Thank you all,
> 
>  
> 
> Best,
> 
> Albert
> 
> 
> -- 
> http://visionaryfilm.net/
> http://albertalcoz.com/
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[Frameworks] Personal website or vimeo page or both?

[Robert Withers]

Hello all,
Here’s something I ponder:
For a moviemaker, is there an advantage to having a personal website in 
addition to a vimeo page to share information and viewable films?
The personal website takes a certain amount of crafting and maintenance (and 
hosting cost).
Vimeo will live longer than I (though one never knows what changes it may go 
through) and would seem a low-maintenance archive and reference.
Or are personal websites the equivalent of a business card or a promotional 
flyer and it’s just good to have one?
Thanks for your thoughts.


Robert Withers
withe...@earthlink.net


Souvenirfilms.com
https://vimeo.com/robertwithers <https://vimeo.com/robertwithers>



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Re: [Frameworks] Documentaries within/with a group subject and participatory filmmaker(s)

[robert harris]

This work might meet your criteria.
by Craig Saddlemire
Viewable on Vimeo.

https://vimeo.com/63068445 

Household: Four Stories of Kinship and Curiosit
I asked eight different families to allow me to videotape their daily lives. 
Four graciously accepted my proposal: an extended refugee family from Somalia, 
an interracial same-sex couple, a single mother in a housing cooperative, and a 
mother of six who has fostered nearly 50 children in her lifetime. In addition 
to sharing the routines and challenges of their own families, I asked one 
member of each family to be the narrator for the story of a different family. 
Through this method, each participant was able to be the observer as well as 
the observed in the documentation process. By exposing the history and 
experience of each narrator, their observations of others are placed within a 
relatable social context for the viewer. These observations are therefore not 
presented as hard facts, but as constructed meanings that reveal as much about 
the narrator as they do about the observed subject.




> On Jul 10, 2018, at 1:22 PM, Sonya Mladenova  
> 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] analog cinema machines

[Robert Harris]

Bye Bye Brazil._Diegues

Intervista_Fellini

Remedia Reading Comprehension (may not show the projector)  Owen Land





> On Jun 8, 2018, at 3:09 AM, Monise Nicodemos  
> wrote:
> 
> Hi all,
> 
> I'm looking for movies (experimental or not) that feature the analog cinema 
> machines (Man with a Movie Camera de Vertov, Kodak de Dean)...
> 
> I would really welcome some suggestions.
> 
> Many thanks!
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[Frameworks] Silent work

[Robert Withers]

Y’all may be interested in my silent film Sub Rosa, which has been screened 
both outdoors (the forests surrounding Bard College) and indoors (Nuyorican 
Poets Cafe <https://www.nuyorican.org/>). You can see it on 
https://vimeo.com/201069209 <https://vimeo.com/201069209>

Cheers,
Robert

Robert Withers
withe...@earthlink.net
202 West 80 St #5W NYNY 10024
212-873-1353 land
212-203-3048 mobile

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Re: [Frameworks] Voice over

[Robert Harris]

Sink or Swim, Su Friedrich



> On Apr 8, 2018, at 5:17 PM, Ignacio Tamarit  wrote:
> 
> REcreation by Bob Breer
> Taller by Narcisa Hirsch
> 
> El dom., 8 abr. 2018 4:31 p. m., Gene Youngblood  
> escribió:
>> Hollis Frampton, Nostalgia
>> 
>> Gene & Jane Youngblood
>> (505) 395-6370 home
>> 
>>> On April 8, 2018 at 12:47:54 PM, Surbhi Goel (surbh...@gmail.com) wrote:
>>> 
>>> Encounters at the End of the World (Werner Herzog, 2007)
>>> 
>>> not exactly voice over in traditional sense but, Tarkovsky's father 
>>> reciting his poetry in Zerkalo makes for a haunting soulful voice-over
>>> 
>>> 
>>> best regards, 
>>> Surbhi
>>> 
 On 8 April 2018 at 22:53, Dennis Doros  wrote:
 Margot Benacerraf's ARAYA.
 
 Luc Besson's ATLANTIS
 
 Leo Hurwitz NATIVE LAND (can't remember if it's 100% voice-over). STRANGE 
 VICTORY is about 90% voice-over.
 
 
 ​
 
 Fondest regards,
 Dennis Doros, Co-owner 
 Milestone Film & Video • PO Box 128 • Harrington Park, NJ 07640
 Phone: +1 (201) 767-3117 • Email: milefi...@gmail.com • www.milestone.film
 
 President, Association of Moving Image Archivists
 amiapresid...@amianet.org • www.amianet.org
 AMIA 2018 • 11/28 – 12/1 Portland, OR
 
 JOIN MILESTONE'S MAILING LIST TODAY!
 Support us on Facebook and Twitter!
 
 
 
 
 
> On Sun, Apr 8, 2018 at 12:47 PM, Aman Wadhan  wrote:
> Patrick Keiller ('London', 'Robinson in Space', 'Robinson in Ruins').
> 
> And not to forget some of the most haunting voice-over performances ever 
> -- the films of Marguerite Duras ('Agatha et les lectures illimitées', 
> 'India Song').
> 
> 
>> On Sunday, April 8, 2018, T. Siddle  wrote:
>> Blue, by Derek Jarman
>> The Black Tower, by John Smith 
>> Black Swans at Night, by Fiona Trigg
>> 
>> 
>>> On Sun, Apr 8, 2018 at 8:15 AM lagonaboba  wrote:
>>> Universal Hotel,  by Peter Thompson
>>> Routine Pleasures, by Jean Pierre Gorin (almost all voiceover)
>>> Jollies, by Sadie Benning
>>> Vanalyne Green’s work (Spy in the House that Ruth Built
>>> Las Hurdes, by Bunuel
>>> 
>>> 
>>> 
 On Apr 8, 2018, at 11:05 AM, Shashwati Talukdar  
 wrote:
 
 Bill Brown
 
 regards,
 
 Shashwati Talukdar
 夏雪莉
 ---
 
 
 http://dontbeatmesir.comhttp://wallstories.fournineandahalf.com/http://fournineandahalf.com
 
> On Sun, Apr 8, 2018 at 10:59 PM, Anthony Yanick 
>  wrote:
> Chris Marker, Wim Wenders, https://vimeo.com/108736758...
> 
>> On Sun, Apr 8, 2018 at 10:55 AM, Mariah Garnett 
>>  wrote:
>> Hi!
>> Does anyone have recommendations of films that are all voice over 
>> that are particularly great?
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> 
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 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
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>>> 
>>> ___
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> 
> ___
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> 
 
 
 ___
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[Frameworks] Sources for digital "prints" of avant garde classics

[Robert Withers]

Hi all,
This is provide one filmmaker's perspective on digital prints etc. in response 
to the discussions below. We should be so lucky to be making only classics.
Typically, it has been the independent filmmaker who has subsidized the lab and 
labor costs of film prints. I remember Hollis Frampton's passionate letter to 
MOMA on the topic of rental fees for these costly prints (and the artist's 
presence). 
SB was in a fortunate position in his career to insist on film prints only.
Many are not able to take this purist position.
Even today there is a financial consideration to making digital copies. Labs 
and facilities charge for the service of making digital scans from film prints. 
The cost is not negligible--neither is the cost of internet services through 
which to make the scans available.  
There are quality issues for the filmmaker as well--I've learned I must 
carefully hand clean prints before submitting them for a scan--the 
automatically applied "ultrasound" cleaning has limitations. 

A couple of my films from the 1970s are distributable only in digital, but 
through old-school Standard Def scans that I paid a lab for. Disappointing 
versions. But making more prints is beyond my scope. I have subsidized a few HD 
scans of these "period films" and one pal has scanned one for me. 
I am also fortunate to be a recipient of support for restoration of one of 
these films--through film technology at a film lab. It will go through an 
internegative stage so the prints will be once removed from the camera 
original. I think digital restoration is probably more advanced--direct from 
camera original and with color correction options that seem more sophisticated 
than lab color timing. Oh, yeah, dirt and flaw reduction and transfer to 4K.

I once had the opportunity to view a manuscript of Galileo on the movement of 
the heavenly bodies, with hand-inscribed equations, thanks to Edward Tufte. It 
was beautiful and charismatic, but I wouldn't need to read only that version, 
if I could read it at all. I don't need to read only first editions of my 
beloved authors.

Film has always lived in the age of mechanical reproduction. Film prints have 
their aura, but so do digital images.
The aura comes from the viewers as well as the means of production.

I once tried to show an actual film print at a noted college to discuss these 
questions with the students. But of course the projector wouldn't thread. 

Cheers,

Robert Withers
withe...@earthlink.net
202 West 80 St. NYC







From: Esperanza Collado <esperanzacolla...@gmail.com>
Subject: Re: [Frameworks] Sources for digital "prints" of avant garde classics
Date: February 15, 2018 7:23:45 AM EST
To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>


Hi Elena,

Once I rented Lemon by Frampton from Anthology Film Archives, it was a digital 
file and was screened at Irish Film Institute. I think we couldn't get the 
actual print as it was already booked, so we rented that file but not for free 
of course. 

So, in the end it costs money too if you screen digital, and you're not even 
showing the original work. That sucks :)

What city is this? Can you tell us?

2018-02-15 12:53 GMT+01:00 Elena Duque <elenadu...@gmail.com>:
Thanks, Pip

I totally understand that, and I work for a festival that is very aware of that 
((S8) Mostra de Cinema Periférico in A Coruña). Ideally, I would suggest them 
to project in 16mm, but this is a test screening in a small Spanish town, 
happening in a month and a half thanks to a venue they just got recently. So, 
there is no time and no money for this edition (besides of getting a projector, 
it would be necessary to hire a projectionist and pay for the shipping of the 
prints), but hopefully we will be able to that properly next year. So, I'm 
trying to do my best with what's available, in a place with no avant garde 
screenings tradition whatsoever. It is important to be aware of the context, 
and as much as I think that the analog screening is a totally different 
experience, I think this is better than nothing. We go little by little, trying 
to create a new audience that does not exist now!

Given that, thank you very much for your suggestion! I will look through your 
catalogue and maybe I will make you some enquiries, trying to be respectful to 
all the filmmakers involved. 

Cheers!

2018-02-15 12:39 GMT+01:00 Pip Chodorov <framewo...@re-voir.com>:
Dear Elena,

Many filmmakers don't want their films shown digitally. A good example is Stan 
Brakhage. It really denatures the intended image. Other filmmakers are more 
tolerant, such as Jonas Mekas. It is a big debate.

At Re:Voir in Paris we have digital files for our VOD platform and DVD/Blu-Ray 
publishing but these are meant only for home video, and though we do get 
requests for screenings we always encourage programmers to screen film prints 
from the coops. A 16mm projector is r

Re: [Frameworks] Sad news

[robert harris]

Should anyone wish to learn more about Chuck and his work, they might start the 
new year reading JUMPCUT.
All issues of the journal are archived back to #1 in 1974
https://www.ejumpcut.org/currentissue/index.html 
<https://www.ejumpcut.org/currentissue/index.html>


Robert Harris



> On Dec 27, 2017, at 10:53 AM, mary billyou <mbill...@gmail.com> wrote:
> 
> What a surprise! I have never met the man in person but I would have liked to 
> have met him. His recent call for attention to sexual harassment and assault 
> encouraged me to engage more fully in this forum. I will be sure to learn 
> more about him and his work, now especially more than ever.
> 
> Thank you for letting us know.
> 
> Mary
> 
> On Sun, Dec 17, 2017 at 12:41 AM, Fred Camper <f...@fredcamper.com 
> <mailto:f...@fredcamper.com>> wrote:
> I knew Chuck for about four decades, not as a close friend but through many 
> fine encounters over the years. This list has it right: he was warm, funny, 
> generous, kind, smart, and had real integrity. I too read his review of 
> Visionary Film when it came out, and I do agree that Chuck did open up really 
> important ways of thinking about the subject.
> 
> One example of his generosity: He asked me to be the respondent to a paper he 
> was giving at a seminar that was partly a critique of the Sitney canon, 
> knowing, I suspect, that I might be a bit critical of his paper. He got me 
> lots of material in advance. His paper was quite interesting and I enjoyed 
> engaging with it. I found one way of humorously tweaking it in my response, 
> and I still remember Chuck’s hearty laugh when I launched my little 
> one-liner. Now that is generosity.
> 
> A film important to his paper was The Cry of Jazz ( 
> https://en.wikipedia.org/wiki/Cry_of_Jazz 
> <https://en.wikipedia.org/wiki/Cry_of_Jazz> ) I think Chuck meant this as an 
> example of the kind of film that should be included in a widened canon. If 
> you haven’t seen it, having a look would be one way to honor his memory.
> 
> Fred Camper
> Chicago
> 
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> 
> 
> 
> -- 
> 
> 
> 
> 
> 
> www.marybillyou.com 
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Re: [Frameworks] Painting directly to film

[Robert Withers]

Hi all,
I am bemused by this topic since the questioner specifically referred to 
"abstract expressionist" painting on film There have been a lot of painters on 
film including myself, and kids I taught in film class.
But I've never been aware of a painter on film who wasn't inspired specifically 
by the traditions and techniques of experimental or animated film, and the very 
technology of motion picture film itself.

Abstract expressionists were very self-conscious of their specific practice (I 
don't remember who named the style). With the big expressionistic body-gestures 
it seems to have little to do with the careful, miniaturistic practices of 
painters on film, no matter how free the projected image looked. I fondly 
remember Brakhage's Persian Series which he created with a lightbox and 
painting kit on the tables of a Colorado Cafe. 

Maybe art historians of the future will link all free abstract images as 
"abstract expressionism" but I don't think so.

Cheers,
Robert


WithersWorks.com
202 West 80th St. #5W
New York, NY 10024


On Dec 3, 2017, at 7:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:

>  Re: Painting directly to film 

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[Frameworks] Jazz in films thread

[Robert Withers]

Not to forget, two exquisite films by D.A. Pennebaker, a jazz aficionado:
Daybreak Express (1953), a short featuring the NY City Third Avenue Elevated 
Train, cut to the music of Duke Ellington.
Lambert & Co. (1964) Documentary short featuring Dave Lambert (of Lambert, 
Hendricks, and Ross) auditions a new group at RCA studios. Lovely music and 
interactions between the 4 singers. 

In the profuse ecology of short films, some beautiful work gets lost or 
forgotten. Hope these don't.

Robert Withers
rob...@withersworks.com




On Nov 21, 2017, at 7:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:

> Send FrameWorks mailing list submissions to
>   frameworks@jonasmekasfilms.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
>   https://mailman-mail5.webfaction.com/listinfo/frameworks
> or, via email, send a message with subject or body 'help' to
>   frameworks-requ...@jonasmekasfilms.com
> 
> You can reach the person managing the list at
>   frameworks-ow...@jonasmekasfilms.com
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of FrameWorks digest..."
> Today's Topics:
> 
>   1. Jazz thread (Noe Kidder)
>   2. Parallel Editing (Kelsey Velez)
>   3. Call for entries: TR*MP TH*S! 2018 (Scott Stark)
>   4. Call for Lecturer in Screenwriting at Georgia State
>  University in Atlanta (Robbie Land)
>   5. Re: Parallel Editing (Dominic Angerame)
>   6. Re: Parallel Editing (Warren Cockerham)
>   7. Re: Parallel Editing (o...@thenowcorporation.com)
>   8. Re: Parallel Editing (Warren Cockerham)
>   9. Re: Parallel Editing (Amanda Christie)
> 
> From: Noe Kidder <noekid...@gmail.com>
> Subject: [Frameworks] Jazz thread
> Date: November 20, 2017 11:47:04 AM EST
> To: "frameworks@jonasmekasfilms.com" <frameworks@jonasmekasfilms.com>
> 
> 
> I think of Cassavetes
> This article may be of interest:  
> http://www.corpusfluxus.org/Pages/works_events/lectureMingus.html
> 
> On Mon, Nov 20, 2017 at 8:25 AM, <frameworks-requ...@jonasmekasfilms.com> 
> wrote:
> Send FrameWorks mailing list submissions to
> frameworks@jonasmekasfilms.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> or, via email, send a message with subject or body 'help' to
> frameworks-requ...@jonasmekasfilms.com
> 
> You can reach the person managing the list at
> frameworks-ow...@jonasmekasfilms.com
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of FrameWorks digest..."
> 
> Today's Topics:
> 
>1. Re: Jazz Music and Avant-Garde Film (Jorge Lorenzo Flores Garza)
>2. Farewell Party for Taka & Akiko Iimura TONIGHT 6-9pm,
>   Microscope Gallery in Brooklyn (LBurchill)
>3. Re: Jack Stauffacher (Stephen Anker)
> 
> 
> -- Forwarded message --
> From: Jorge Lorenzo Flores Garza <jorgelore...@hotmail.com>
> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
> Cc: 
> Bcc: 
> Date: Sun, 19 Nov 2017 15:58:54 +
> Subject: Re: [Frameworks] Jazz Music and Avant-Garde Film
> Also, Adam Rosen and John Creson do very interesting live visuals for Micheal 
> Snow's and John Oswald's CCMC concerts up in Toronto nowadays.
> 
> 
> De: FrameWorks <frameworks-boun...@jonasmekasfilms.com> en nombre de Beebe, 
> Roger W. <beebe...@osu.edu>
> Enviado: jueves, 9 de noviembre de 2017 04:34 p. m.
> Para: Experimental Film Discussion List
> Asunto: Re: [Frameworks] Jazz Music and Avant-Garde Film
>  
> I think I saw Michael Snow’s name invoked somewhere in this thread, but I 
> don’t think anyone mentioned that he is himself a jazz musician.  I saw a 
> show at Hallwall’s in Buffalo years ago where Snow where they included a 
> piece called REVERBERLIN made of footage of a performance of his ensemble 
> CCMC:
> 
> http://www.hallwalls.org/media-arts/4675.html
> 
> Michael Snow - Beyond/In Western New York: Michael Snow - Film and Video - 
> 10/13/07
> www.hallwalls.org
> Beyond/In Western New York artist Michael Snow presents an evening of films 
> and videos featuring: THE LIVING ROOM (2002); TRIAGE (2004, with Carl Brown 
> and soundtrack by John Kamevaar); REVERBERLIN (2006, featuring CCMC -- an 
> improv ensemble founded by Snow in 1974).
> 
> 
> FYI,
> Roger
> 
>> On Nov 9, 2017, at 11:21 AM, Esperanza Collado <esperanzacolla...@gmail.com> 
>> wrote:
>> 
>> Hey Albert,
>> 
>> What a great thread! Did anyone mention Shirley Clark? Can't remember the 
>> title. 
>> 
&g

[Frameworks] Jazz Music and Avant-Garde Film

[Robert Withers]

As quoted below:

You can see Undertow with music by Joseph Jaman onscreen in two scenes: 
ballad-like on the rooftop and Oriental /Aboriginal frenzy in the abandoned 
amphitheater. Joseph also worked with flamenco maestro Basilio Georges on the 
soundtrack for the film. 

And Money Catsin sings his inimitable Neoist "Hungarian" folk song in the 
junkyard with his signature flaming iron.

Cheers,
Robert
withe...@earthlink.net



2017-11-13 19:39 GMT+01:00 federico lanchares <federic...@hotmail.com>:

Hello Albert,

Watch UNDERTOW by Robert Withers (Joseph Jarman is there playing sax) and Glas 
by Bert Haanstra. Regards, F.



https://vimeo.com/34195579


UNDERTOW
vimeo.com
Undertow with Monty Cantsin (Istvan Kantor) 1992, 30 min. Written and directed 
by Robert Withers, UNDERTOW traces the tracks of the Underman as he threads a 
graffiti ...

212 873-1353 main
212 203-3048 mobile

WithersWorks.com
202 West 80th St. #5W
New York, NY 10024


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[Frameworks] Editing negative

[Robert Withers]

Esperanza,
What we used to do in the old days was make a print from the negative, then 
edit that print changing order and timing, then match the negative to the 
edited print. Negative is fairly delicate and picks up dirt easily. Though in 
theory I guess you could rearrange takes. What would be your next step?
Robert

withe...@earthlink.net


On Oct 22, 2017, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:

> Send FrameWorks mailing list submissions to
>   frameworks@jonasmekasfilms.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
>   https://mailman-mail5.webfaction.com/listinfo/frameworks
> or, via email, send a message with subject or body 'help' to
>   frameworks-requ...@jonasmekasfilms.com
> 
> You can reach the person managing the list at
>   frameworks-ow...@jonasmekasfilms.com
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of FrameWorks digest..."
> Today's Topics:
> 
>   1. This week [October 21 - 29, 2017] in avant garde cinema
>  (Flicker weekly listing)
>   2. Editing neg? (Esperanza Collado)
> 
> From: Flicker weekly listing <weeklylist...@hi-beam.net>
> Subject: [Frameworks] This week [October 21 - 29, 2017] in avant garde cinema
> Date: October 21, 2017 10:54:55 AM EDT
> To: <frameworks@jonasmekasfilms.com>
> Reply-To: Flicker weekly listing <weeklylist...@hi-beam.net>
> 
> 
>  
>   
>   
> 
> This week [October 21 - 29, 2017] in avant garde cinema
> 
> Enter your event announcements by going to the Flicker Weekly Listing Form.
> 
> 
> To receive the weekly listing via email: Subscribe. To unsubscribe see the 
> link at the bottom of this email.
> 
> 
> Light Movement 25: Snow and Ice Data [October 23, Berlin, Germany]
> 
> NEW CALLS FOR ENTRIES:
> Haverhill Film Festival (Haverhill, MA, USA; Deadline: June 01, 2018)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls=1951.ann
> Drone Cinema Film Festival (San Francisco, CA, USA; Deadline: December 31, 
> 2017)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls=1952.ann
> Black Maria Film Festival (Jersey City, NJ, USA; Deadline: October 20, 2017)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls=1953.ann
> 
> DEADLINES APPROACHING:
> Experiments in Cinema (Albuquerque, New Mexico USA; Deadline: November 01, 
> 2017)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls=1942.ann
> Events are sorted alphabetically BY CITY within each DATE.
> This week's programs (summary):
> 
> Scope Presents: H. Schramm & N. Wiese / Patrick K.H. & A. Karaoulanis / Xname 
> #376 [October 21, Berlin, Germany]
> Soc. Sci. 127 & Little Boy - Danny Lyon In Person [October 21, Cambridge, 
> Massachusetts]
> Ism, Ism, Ism: Claudio Caldini In Person At Con+Tagion [October 21, Los 
> Angeles, California]
> Media Archeology2 [October 21, San Francisco, California]
> From the Files of Police Squad! [October 22, Brooklyn, NY]
> Willie - Danny Lyon In Person [October 22, Cambridge, Massachusetts]
> Claudio Caldini - 8mm Film Master - In Person! [October 22, Los Angeles, 
> California]
> Boxing On Film: Part 2: Short Film Program [October 22, New York, NY]
> Light Movement 25: Snow and Ice Data [October 23, Berlin, Germany]
> Ism, Ism, Ism: Fantasmas CromáTicos: 8mm visions of Claudio Caldini [October 
> 23, Los Angeles, California]
> Canyon Cinema + Cca Film Present: Women Take off [October 24, San Francisco, 
> California]
> Visions | 25.10.17 + 26.10.17 | Robert Todd [October 25, Montréal]
> Newfilmmakers [October 25, New York, NY]
> Bravadoa: Terri Thomas and Scott Stark [October 27, Austin, TX]
> Ec: George  Mike Kuchar [October 27, New York, NY]
> Ec: George Landow, Aka Owen Land [October 28, New York, NY]
> Portland Pixilation: Heit + Popp + Hough [October 28, San Francisco, 
> California]
> Los NiÑOs Abandonados & Llanito [October 29, Cambridge, Massachusetts]
> Ism, Ism, Ism: Dark Matter: Collective, Singular and Parodic Resistance 
> [October 29, Los Angeles, California]
> Ec: Christopher Maclaine [October 29, New York, NY]
> 
> SATURDAY, OCTOBER 21, 2017
> 10/21
> Berlin, Germany: Spektrum
> http://spektrumberlin.de/program/events.html
> 20:00, Bürknerstraße 12s
> SCOPE PRESENTS: H. SCHRAMM & N. WIESE / PATRICK K.H. & A. KARAOULANIS / XNAME 
> #376
> AV performance night with: Heidrun Schramm & Nicolas Wiese - audiovisual 
> electroacoustic set premier performance of three new pieces: 1. Sightings > 
> Repercussions 2. International Scribblings 3. Pseudo_Code / Version 3.2 
> Heidrun Schramm and Nicolas Wiese have been performing together since 2004, 
> mostly in either audiovisual or site-specific, installativ

[Frameworks] Sharing films online/website?

[Robert Withers]

Hello friends,
I want to update my website which is woefully out of date. Meanwhile I've 
posted lots of films on vimeo.com/robertwithers, which I think may survive me. 
(It's free and you can still see films by the late Standish Lawder 
https://vimeo.com/97694242 on vimeo though I don't know if he ever had a page.)

What do filmmakers do? Your own perishable web page with films on it, your own 
web page with links to vimeo, just vimeo?
Thanks for any thoughts, public or private.

Robert


WithersWorks.com
New York, NY 10024


On Jul 21, 2017, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:

> Send FrameWorks mailing list submissions to
>   frameworks@jonasmekasfilms.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
>   https://mailman-mail5.webfaction.com/listinfo/frameworks
> or, via email, send a message with subject or body 'help' to
>   frameworks-requ...@jonasmekasfilms.com
> 
> You can reach the person managing the list at
>   frameworks-ow...@jonasmekasfilms.com
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of FrameWorks digest..."
> Today's Topics:
> 
>   1. bus stops (Green, Ron Green)
>   2. Southern Colorado Film Festival (eric stewart)
> 
> From: "Green, Ron Green" <green...@osu.edu>
> Subject: [Frameworks] bus stops
> Date: July 20, 2017 9:43:12 AM EDT
> To: "frameworks@jonasmekasfilms.com" <frameworks@jonasmekasfilms.com>
> 
> 
> There's a really beautiful use of bus stops throughout the early part of 
> TREELESS MOUNTAIN by So Yong Kim. It's on Fandor.
> 
> The opening scenes of BICYCLE THIEVES come to mind. 
> 
> Ron Green
> 356 W 7th Ave
> Columbus OH 43201
> 614.421.2131
> 
> 
> J. Ronald Green
> Professor Emeritus of Film Studies
> Department of History of Art
> The Ohio State University
> 
> 
> 
> 
> 
> 
> From: eric stewart <e.l.j.stew...@gmail.com>
> Subject: [Frameworks] Southern Colorado Film Festival
> Date: July 20, 2017 11:28:43 AM EDT
> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
> 
> 
> Hey Frameworkers,
> 
> The early bird deadline for the Southern Colorado Film Festival is coming up 
> soon.  Please consider submitting here:
> https://filmfreeway.com/festival/SoCoFilmFestival
> 
> The festival is experimental friendly and has discounts for Colorado and 
> youth filmmakers (ask me for a code) AND more importantly its super awesome.  
> The festival takes place in Alamosa along the Rio Grande in the beautiful San 
> Luis Valley.  Hot Springs abound, so do UFO watchtowers and alligator farms.  
> Sound enticing! I thought so, submit!
> 
> thanks,
> 
> -Eric Stewart
> 
> 
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Re: [Frameworks] Eulogy Films

[robert harris]

You can also consider:

Patricio Guzmans’s  "Nostalgia for the Light”

and  

Peter Thompson’s  “Universal Hotel”




On Mar 18, 2017, at 11:43 AM, Margaret Rorison  
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] Eulogy Films

[robert harris]

Margaret,

You might consider Alexander Sokurov’s  “Elegy” series,  for example:
Maria (Peasant Elegy)
Elegy

Shigeko Kubota’s   “My Father”

my own (Robert Harris)
“Elegy”
ELEGY2009   Colorsilent   2:45

Elegy for four friends, Shridhar Bapat, Charlotte Moorman, Nam June Paik, 
& Al Robbins.  Super 8mm film recorded in 1975
distributed by Filmmaker’s Coop



On Mar 18, 2017, at 11:43 AM, Margaret Rorison <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/
> 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks

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Re: [Frameworks] Pageant lenses for 'Empire' screening

[Robert Schaller]

I have identical 1" lenses.  Contact me at robert at robertschaller d0t
org if you still need them.

Robert

On Wed, March 8, 2017 10:09 am, David Sherman wrote:
> We are looking to borrow/rent  for a pair of matched 1"-1.5" lenses for a
>  Pageant projectors for screening of Warhol's compete *Empire * at
> Exploded
> View Microcinema in Tucson on April 29. A generous patron is sponsoring
> the print rental for this screening and this show will be a benefit
> fundraiser for Exploded View as we are finishing up our 4th year of
> experimental film/music programing in Tucson.  We obviously want to do
> this a cross-over projection w/ 2 projectors. We have a line on 2
> teleconverters, but wondered if anyone on Frameworks has 2 identical fast
> wide lenses that we could use for this special occasion.
>
> Thanks, David
>
>
>
> --
> David Sherman
> 520-366-1573
> www.explodedviewgallery.org www.davidshermanfilms.com
> ___
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> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>


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[Frameworks] 2017 Handmade Film Institute Summer Programs

[Robert Schaller]

Pacific Northwest Film Camp
June 3 - 11, 2017

Spend a week on beautiful Orcas Island, WA investigating celluloid film as a 
physical medium, learning to make your own emulsion, exploring various 
hand-processing techniques, and pushing the creative and aesthetic limits of 
the   handmade filmmaking process from start to finish. Our home base is 
located right at the water's edge - and whether you choose to camp in the great 
outdoors or take advantage of limited indoor accommodations indoors, the 
setting is an inspirational backdrop for an intensive immersion in all aspects 
of filmmaking. The week will also include a filmmaking excursion to uninhabited 
Sucia Island, designated as a Washington State Park. We will share gourmet 
meals featuring the Handmade Film Institute's legendary vegan cuisine. All 
materials are provided, and participants will have access to conventional and 
underwater filmmaking equipment, as well as darkroom and printing facilities.


The Handmade Filmmaking Camp
June 24 - July 2, 2017

Now in its fourteenth year, this is the Handmade Film Institute's foundational 
workshop. We spend a week at 8200 feet in the Rocky Mountains engaged in a 
comprehensive investigation of film as a physical medium. As film artists, we 
will delve into a detailed exploration of celluloid film stocks and development 
processes with an eye to unlocking and expanding their potential as artistic 
media. Choose your own spot to pitch a tent in the beautiful forests and 
meadows surrounding the house, and get ready for a focused, introspective and 
inspirational week. The week includes a filmmaking excursion to the Indian 
Peaks Wilderness, one of Colorado's most scenic preserves located at the 
Continental Divide.  Workshop participants will have access 24/7 to full 
darkroom and printing facilities, and all materials and film stocks are 
provided. Past participants rave about the gourmet vegan meals and the sense of 
creative community that is nurtured during mealtime conversations. If you're 
after a transformative experience through a thorough, intensive, lab-based 
study of the film medium, this is the workshop for you.

The Wilderness Film Expedition
July 15 - July 27, 2017

This unique backcountry expedition will be a more than one week immersion 
devoted to producing a complete 16mm "Mountain Symphony" film that we will 
shoot, process, edit and premiere in the wilderness.  We will explore 
zero-emissions filmmaking in this remote and beautiful setting both technically 
and aesthetically. We will be staying long enough that our artistic senses and 
creative decisions can themselves become permeated by the wilderness, and thus 
the visions that we create on location will reflect our presence there both in 
subject and in how we think about the subject. As in past years, we carry an 
entire simplified handmade filmmaking apparatus on our backs, including the 
necessary chemistry, film stocks, cameras, editing tools and projection 
equipment up to our campsite at 10,500 feet. Once established, the base camp 
becomes a filmmaking studio en plein air - the streams hydrate our chemistry, 
the sun dries our film, and the darkness of the night provides the limitless 
darkroom in which we work. Frequent climbs, day hikes, and opportunities for 
quiet reflection will offer unlimited opportunity to think, capture footage, 
push your limits, and explore this little-known magnificent area of Colorado.

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Re: [Frameworks] Auto-load projector problem

[Robert Withers]

Thanks for all the replies and suggestions to this. My takeaway is I need to 
get my own super-8 projector overhauled and lubed up and not trust a projector 
at a college or university if it's not used and maintained. They told me it 
wasn't.
Appreciate it. 
Robert


WithersWorks.com



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[Frameworks] Auto-load projector problem

[Robert Withers]

Hi,
I keep encountering auto-load projectors in 16mm and S8 mm that don't load for 
me. You push down the thingie at the top of the threading pattern to start 
auto-loading but when the film feeds in it goes straight up after the first 
curve without entering the gate. Do these projectors have issues or is there a 
trick?
Need more community.
Thanks,
Robert



WithersWorks.com



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Re: [Frameworks] FrameWorks Digest, Vol 78, Issue 3

[Robert Withers]

212 873-1353 main
212 203-3048 mobile

WithersWorks.com
202 West 80th St. #5W
New York, NY 10024


On Nov 3, 2016, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:

> Send FrameWorks mailing list submissions to
>   frameworks@jonasmekasfilms.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
>   https://mailman-mail5.webfaction.com/listinfo/frameworks
> or, via email, send a message with subject or body 'help' to
>   frameworks-requ...@jonasmekasfilms.com
> 
> You can reach the person managing the list at
>   frameworks-ow...@jonasmekasfilms.com
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of FrameWorks digest..."
> Today's Topics:
> 
>   1. Fwd: [Labos] super8data.com revival (Pip Chodorov)
>   2. Re: Fwd: [Labos] super8data.com revival (christopher nigel)
> 
> From: Pip Chodorov 
> Subject: [Frameworks] Fwd: [Labos] super8data.com revival
> Date: November 2, 2016 8:57:24 PM EDT
> To: Experimental Film Discussion List 
> 
> 
> FrameWorkers,
> I am happy to  forward an amazing resource, sent through the film labs list.
> Enjoy,
> Pip
> 
> 
> 
>> From: Friedemann Wachsmuth 
>> Date: Wed, 2 Nov 2016 22:44:46 +0100
>> To: forum labo 
>> Subject: [Labos] super8data.com revival
>> 
>> Hey all,
>> 
>> Thanks to the help of an archiving friend, I was 
>> able to reconstruct more than 10,000 further 
>> images and pages of the long lost super8data.com 
>> site. It's still not complete yet, but way more 
>> complete than my first attempt of recontructing 
>> it from public archives.
>> 
>> Have fun surfing: http://www.filmkorn.org/super8data/
>> 
>> Feel free to spread the word. If I find time, I will fix some more links.
>> 
>> And No, Mr. Wittner, who bought the domain and 
>> the database from Carlos, he did not help at 
>> all. No matter what I offered him ‹ he did not 
>> share the data and just cares about the traffic 
>> he gets from the old domain. That¹s such a sad 
>> attitude.
>> 
>> 
>> 
>> F
>> ___
>> Forum mailing list
>> fo...@filmlabs.org
>> https://listes.domainepublic.net/listinfo/forum
> 
> 
> 
> 
> 
> From: christopher nigel 
> Subject: Re: [Frameworks] Fwd: [Labos] super8data.com revival
> Date: November 3, 2016 5:07:36 AM EDT
> To: Experimental Film Discussion List 
> 
> 
> That great , Thank you for letting us all Know ! sad about Wittner attitude ,
> 
> C
> 
> On Thu, Nov 3, 2016 at 1:57 AM, Pip Chodorov  wrote:
> FrameWorkers,
> I am happy to  forward an amazing resource, sent through the film labs list.
> Enjoy,
> Pip
> 
> 
> 
> From: Friedemann Wachsmuth 
> Date: Wed, 2 Nov 2016 22:44:46 +0100
> To: forum labo 
> Subject: [Labos] super8data.com revival
> 
> Hey all,
> 
> Thanks to the help of an archiving friend, I was able to reconstruct more 
> than 10,000 further images and pages of the long lost super8data.com site. 
> It's still not complete yet, but way more complete than my first attempt of 
> recontructing it from public archives.
> 
> Have fun surfing: http://www.filmkorn.org/super8data/
> 
> Feel free to spread the word. If I find time, I will fix some more links.
> 
> And No, Mr. Wittner, who bought the domain and the database from Carlos, he 
> did not help at all. No matter what I offered him ‹ he did not share the data 
> and just cares about the traffic he gets from the old domain. That¹s such a 
> sad attitude.
> 
> 
> 
> F
> ___
> Forum mailing list
> fo...@filmlabs.org
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> 
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> 
> 
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[Frameworks] SD to HD up-res quote? (ev petrol)

[Robert Withers]

You might try Metropolis in NYC. Don't know if they have a Teranex, which is 
what you might want. 
You can also do some fairly decent uprezing (and deinterlacing?) with software 
like Apple Compressor or Plug-ins like Red Giant and Boris. 

Robert Withers
WithersWorks.com
202 West 80th St. #5W
New York, NY 10024


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Re: [Frameworks] Experimental films using Astronomy & Satellite imagery - recommendations

[Robert Haller]

Dear Adam,

Thanks fpr the mention of my astronomical series and English/French
catalog, but it was not called "universe" but GALAXY: AVANT-GARDE
FILM-MAKERS LOOK ACROSS SPACE AND TIME. Sadly it played in the week of
9/ll which meant that there was almost no media coverage, and it was
difficult for audiences to get to Anthology because so many of the streets
in lower Manhattan were blocked by emergency vehicles.--Robert Haller

On 9/13/16 1:28 PM, "Adam Hyman" <a...@lafilmforum.org> wrote:

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

[Robert Withers]

Hi all,
Thanks so much for the interesting, thoughtful, and detailed responses on this 
list. I've added two more below from a private or previous posting, from 
Michael Betancourt and Ji-Hoon Felix Kim. Tara Nelson, I found your vimeo 
pieces fascinating and mysterious, and your sources interesting. 

In the meantime I researched a a bit, first to try to find any mention of a 
dark interval in DCP cinema projection (couldn't find it, except in relation to 
3D technology) and found interesting material posted by David Bordwell and 
Douglass Trumbull. 
http://www.theasc.com/site/blog/thefilmbook/douglas-trumbull-future-filmmaking/ 
 (This is one of 3 interviews) and 
http://www.davidbordwell.net/books/pandora.php (There are links to his blog 
topics.) Curiously, both Bordwell and Trumbull discuss the phenomena of 
changing frame rates, Bordwell in relation to silent film and Trumbull in 
relation to a cinema of the future, which could embody different frame rates to 
affect different experiences of "presence," as, for example a film that would 
present "the humans" at 24 fps and "the monster" at 120 fps. 

Per Tara Nelson and others, I have realized that I was focused on one specific 
aspect of frame rate: sequencing and rhythm of cuts. Other issues I've been 
reminded of include perception of motion (by Michael Betancourt and in relation 
to a sense of blurred motion in presentation without the dark interval) and 
resolution/frame rate (by Tara Nelson, in relation to HD, 16mm, and super-8 
film). This has me thinking about possibilities for degrading HD images and 
slowing the apparent frame rate. 

In my persona as a "cinema composer," my immediate concern had to do with tempo 
and cutting rhythms. For example, I might intend to cut to a 90 or 120 
metronome beat, or to cut shots to lengths of 1/3 second, which would be 8 
frames in a 24ps sequence or 10 frames in a ~30 fps sequence (non-drop 
digital). Then I would suffer the experience of any composer who might write 
precise or general (adagio, allegro) tempo instructions and then turn the work 
over to performers and conductors who would choose their own metronome markings 
and then modify the piece. A cinema composer must ultimately turn work over to 
the vicissitudes of digital projection, which can interpolate frames, change 
frame rate, and do other messy things to the image sequence. After researching 
the Digital Cinema Package (DCP) format, I find it seems to be generally locked 
into a 24fps worldwide, though there are individual machines that can play 30 
fps or high frame rates such as 48 fps to 120 fps. Bordwell has been struggling 
with issues of presenting archival silent films in DCP. 

So what is a film composer to do?  I am working on a piece that was shot in 30 
fps, and am going to continue to create precise cut lengths using 30 fps as a 
basis for temporal playback, knowing that something different could happen in 
projection. Maybe let go and accept some Fluxus-like randomness. If someone 
(including me) really cares, they could mount a 30 fps projection. 

I've already seen weird effects created by DVD projection systems, such as 
automatic conversion of a 3x4 aspect ratio into 16x9 widescreen, so that the 
classroom audience saw a different film from the one I carefully framed and 
composed. To late on that occasion to stop and try to reconfigure without a 
technician present once the film started. I didn't like it, but couldn't ask 
the audience about it since they only saw the false wide-screen version.

Going forward, I think I will revert to 24 fps for digital cinema, even though 
I like the higher 30fps frame rate, in submission to the current worldwide DCP 
standard. 24 fps is no more arbitrary as digital cinema than it was originally  
for film, because it was the cheapest for film stock and as the minimum 
requirement for optical sound engineering of the 1930s. Funny that in 2016 the 
most "advanced" digital system conforms to a standard that was established by 
production and technology concerns of the 1930s. But cinema has always been 
like that.

Cheers,
Robert

cinesouvenir.com, vimeo.com/robert withers


  1. New Book: Between Film, Video, and the Digital: Hybrid Moving
 Images in the Post-media Age (Ji-hoon Felix Kim)

From: Ji-hoon Felix Kim <jihoonfe...@gmail.com>
Subject: [Frameworks] New Book: Between Film, Video, and the Digital: Hybrid 
Moving Images in the Post-media Age
Date: August 8, 2016 6:43:15 AM ADT
To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>


Dear Frameworkers,

Apologies for cross-posting and self-promotion, but I hope that my first book 
will be of interest to you. Please ask your host library to purchase the book 
as it is currently available only in hardcover. Alternatively, for those who 
want to purchase a personal copy, please use the 35%-discount flye

[Frameworks] Theory and practice of frame rates in digital cinema?

[Robert Withers]

Looking for information . . . writings . . . practices . . . thoughts . . . 
In film practice, certain artists such as Frampton, Sharits, Conrad, Lawder and 
others (even myself) sometimes built film rhythms based on the 24 fps rate, 
choosing shots or images of specific frame lengths (1, 2, 4, 8, 24, etc) for 
specific effects. The effect in projection was also modulated by the projection 
technology, which would typically project each film frame more that one time, 
with a black interval in between. We had different kinds of flicker effects 
interacting with the psychological/perceptual phenomenon of persistence of 
vision, with the odd result that audiences in a movie theater would be sitting 
in total darkness for a portion of any film screening, watching the images that 
persisted in their brains. 

Now in digital cinema there is a choice of "standard" frame rates, especially 
24 fps and 30 fps, modulated to a more unpredictable effect by use of displays 
and digital projection systems, which have been standardized in commercial 
cinema theaters but not in all systems. So 8 frame sequences in 24 fps digital 
could conceivably have a different flavor than in 30 fps sequences. In digital 
display there is no more effect from closed film projection shutters: digital 
frames are projected in sequence with no significant interval between. (Pace 
the blanking interval.) Hence digital cinema is typically always "on" with no 
intrinsic (even if unperceived) flicker. Further, there are automatic 
background manipulations done by some display technologies that convert between 
24 fps, 30 fps, 60 interlaced fps, etc., without the viewer being aware of this 
or tipped off in any way. 

I'd be very interesting in hearing about anyone who is writing, practicing, or 
thinking about these issues, and any references. 

Many thanks,
Robert Withers

cinesouvenir.com



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[Frameworks] 1. Re: TB TX DANCE 16mm prints (UNEXPOSED Microcinema)

[Robert Withers]

Beautiful film--thanks for the post so we got to see it on vimeo. The process 
yields very interesting results.
Wish my projectors were functioning--have to spend money to get them tuned up.
Robert

On Thu, Jul 28, 2016 at 8:12 PM, Beebe, Roger W. <beebe...@osu.edu> wrote:
All,

Many of you have seen my 2006 laser-printed film TB TX DANCE.  If not 
(somehow), it’s online here:

https://vimeo.com/34376555

I’m about to make some new prints for myself, and I had the (slightly crazy?) 
idea that maybe others out there would be interested in owning a print.  I’m 
expecting them to be fairly cheap, since it’s a b/w sound-on-film original that 
can just be contact printed as super 16mm.  I don’t know exactly what the 
prints will cost—I’m hoping it’ll be less than $50 per—and I’m planning to sell 
prints at the once-standard 3x print cost.  If you’re interested, send me an 
email to let me know, and I can keep you in the loop as I know more about exact 
costs.  These won’t be “editioned” or anything—I’ll make as many prints as 
required to satisfy demand.  There’ll be no limitation on where you can screen 
‘em—private use, public screenings, classroom instruction are all fine with me.

And to be clear, for the moment I’m just making positive prints for the 
single-channel version, but if anyone’s crazy enough to want the negative 
version as well to be able to present the two-channel version screened on that 
Vimeo version, I will eventually make myself a new negative version too, so I 
could add eventually satisfy those requests too.

I figure they’ll make great stocking stuffers for the experimental filmmaker in 
your life…

Any takers?
Roger
212 873-1353 main
212 203-3048 mobile

WithersWorks.com
202 West 80th St. #5W
New York, NY 10024


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[Frameworks] rephotographing 16mm (Morgan Hoyle-Combs)

[Robert Withers]

> List:FrameWorks@jonasmekasfilms.com
> From:rober...@earthlink.net
> Subject: 1. Rephotographing 16mm (Morgan Hoyle-Combs)
> Reason:  Post by non-member to a members-only list
>   
> 
> 
> Morgan,
> Do you wish to stay in film process and avoid digital processing, through 
> which these things are easily handled?
> You don't need to do optical printing--make a contact print made with 
> appropriate light settings ("timing") and choice of stock. Work with your lab 
> on this. Of course the contact print will be flipped left to right, and 
> emulsion side (it will be A wind not B wind).
> 
> Best wishes,
> Robert Withers
> New York City
> withe...@earthlink.net
> 
> Re:
>   1. Rephotographing 16mm (Morgan Hoyle-Combs)
> From: Morgan Hoyle-Combs <mhoyleco...@yahoo.com>
> Subject: [Frameworks] Rephotographing 16mm
> Date: July 12, 2016 6:26:48 AM EDT
> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
> 
> 
> Hello all, 
> 
> Not sure if my first message got through, but here it goes again:
> 
> One of my 16mm films came out a little too dense. It was a Double X roll 
> processed as a reversal but the end result was rather dark. There's still 
> images but they need to be blown out. Is there a way to rephotograph the roll 
> to give it more contrast? Could this be done via optical printer? 
> 
> Let me know whatever helps! 
> 
> -Morgan



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Re: [Frameworks] films using ancient Greek themes, etc.

[Robert Cargni Mitchell]

On the experiment side, certainly a few selected films by Gregory Markopoulos.

RC

On Jun 25, 2016, at 11:59 AM, Caryn Cline 
> wrote:

Dear Frameworkers,

For a program I’ll be co-teaching at The Evergreen State College next winter 
and spring quarters, I’m looking for short experimental and/or narrative films 
that use Greek literature, themes, philosophy and mythology as an inspiration 
or point of departure.  [Our program, called THE EPIC AND THE EVERYDAY, 
combines ancient Greek literature and media production.]  I’ve used feature 
films in a past iteration of this program (e.g. O BROTHER WHERE ART THOU? and 
LANDSCAPE IN THE MIST), but I’d like to mix in more short work, since I will be 
teaching media production as part of this program and students will be making 
short work.  Films utilizing found footage would be especially useful.  (The 
last time I taught this program, I used some of Jay Rosenblatt’s work in this 
context.)  Happily, I will have a little bit of a budget to rent 
or—preferably—buy the work for our campus library.  Thank you for you 
suggestions.

Best wishes,

CC
Caryn Cline
Experimental Filmmaker & Teacher
vimeo.com/carynyc

[https://docs.google.com/uc?export=download=0B8QA2RrT4O21c0ZoczJTTncwdkE=0B8QA2RrT4O21VWRvUVl1a1N0Rml2YUVpUGxvWEV4dmJRQ1RVPQ]
film still from "Ektacy" (2015)



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Re: [Frameworks] Sally Berger, film curator, fired at MoMA

[Robert Cargni Mitchell]

Was just reading thisand thought.
http://theartnewspaper.com/news/museums/the-party-s-over-as-new-york-s-top-museums-feel-the-pinch/

Robert

Robert E. Cargni  
Associate Director of Arts | Senior Curator
International House Philadelphia | Programs Office   

3701 CHESTNUT STREET | PHILADELPHIA, PA 19104 
phone: 215.895.6555   |  fax: 215.895.6562  
email: al...@ihphilly.org| web: www.ihousephilly.org
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Please support IHP through your United Way pledge – Donor Choice #1517
Member of INTERNATIONAL HOUSES WORLDWIDE ASSOCIATION


-Original Message-
From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Fred Camper
Sent: Tuesday, June 21, 2016 1:44 PM
To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
Subject: Re: [Frameworks] Sally Berger, film curator, fired at MoMA

I understand and agree. And I hate all these confidentiality agreements
-- we should get the IRS to require transparency of not for profits, which, as 
a result of their tax exempt status, operate in effect with huge subsidies from 
all of us.

None of this, however, encourages me to want to sign an online petition without 
more information.

Fred Camper
Chicago

On 6/21/2016 7:23 AM, Chris Kennedy wrote:
> "At the very least, it seems to me that someone who cares about this 
> curator should try to do the work a good journalist would do and get 
> to the bottom of the situation. An authoritative analysis that could 
> show the firing was really wrong might actually help." -Fred Camper
>
> That's a nice idea, but journalists at least have institutional protection 
> against libel laws. Any organization even half as  big as MoMA has a large HR 
> dept and is lawyered up to prevent the bottom of the situation from ever 
> being reached. In short, no one besides Berger's immediate confidants and 
> those that did the firing are ever going to know what happened. An online 
> petition is likely all that anyone can do, unless local NYers are willing to 
> boycott the MoMA.
>
> Chris
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[Frameworks] audio recorder recommendations

[Robert Withers]

I use a Marantz 661 2-channel field recorder now discontinued w/ XLR inputs and 
phantom power, nobs for level control, also built-in microphones, removable 
card. Earphone output is a little weak; excellent sound with good microphones. 

Like most digital recorders in this price range (about $600), including Zooms, 
sync with digital camera can slip a little. We've experienced 2-frame per 
minute slippage. This is manageable for some kinds of shooting, a hassle for 
long interviews. 

The problem is inherent with the cheaper recorders which do not run at clock 
time, even though they are supposedly clocking 48,000 Hz/second.

You probably have to spend a little more for a recorder with time code to get 
perfect sync.

Robert Withers

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Re: [Frameworks] Exemplary Sound Design in AG Film

[robert harris]

Albert,

Thanks for all the references.  I’ll definitely look for Melissa Ragona’s book.
I saw the Sharits film many many times, and would always have delirious 
acoustic hallucinations 2/3 of the way through.
Probably why I kept going back, no?



On May 16, 2016, at 4:10 PM, Albert Alcoz <albertal...@gmail.com> wrote:

> Hello again,
> 
> Some weeks ago Adrian Martin shared a link on Facebook with some audiovisual 
> essays related to sound. They are not specifically Avant-Garde Film though:
> http://www.thecine-files.com/turning-up-the-volume/
> 
> Hacked Circuit by Deborah Stratman is a good work about sound effects:
> http://www.pythagorasfilm.com/hacked-circuit.html
> 
> Maybe Arthur Lipsett works are could be considered "deep sound design" films.
> They are collage sound works, as those created by Abigail Child years later.
> 
> ¿​Robert, have you ever heard S:STREAM:S:S:SECTION:S:S:ECTION:S:S:ECTIONED 
> (1971)​ ​by Paul Sharits? He wrote about his film as a "word sound orgy".
> 
> I thought the same ​as you ​about Invocation of My Demon Brother. There are 
> dozens of avant-garde films where the soundtrack is just music. Some other 
> examples: Crossroads by Bruce Conner and Corridor by Standish Lawder, both of 
> them with compositions by Terry Riley.
> 
> Melissa Ragona is working on a book named: From Radio-Ear to Granular Voice: 
> The Sound of Experimental Film​. Maybe that ​study will solve some of this 
> issues.
> 
> Albert Alcoz
> -- 
> http://visionaryfilm.net/
> http://albertalcoz.com/
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Re: [Frameworks] Exemplary Sound Design in AG Film

[robert harris]

Yes! The Accursed Mazurka. Thanks!


On May 16, 2016, at 4:24 PM, peter snowdon  wrote:

> What I know of Nina Fonoroff's work has always struck me as a kind of model 
> for a complexity in the sound track in which formal experimentation and 
> meaningful polyphonies of language and discourse are intertwined so as to 
> become inseparable.
>  
> Peter
> --
>  'participatory democracy': we only need the adjective because there's 
> something wrong with the noun.> Nicolas Rey
> ___
> gourna films
> www.redrice.net
>  
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Re: [Frameworks] Exemplary Sound Design in AG Film

[robert harris]

Yes I would agree the sonic can be deeply intellectual but sometimes the 
intellectual (Frampton, Peter Rose’s linguistic pieces, and everyone’s text and 
voice) I don’t think of as being creatively sonic, unless one finds quotidian 
human voice to be so.


On May 16, 2016, at 4:12 PM, Francisco Torres <fjtorre...@gmail.com> wrote:

> By excellent I mean, complex, layered, inventive, of rich and nuanced 
> timbre….excellent for it’s sonic qualities (as opposed to strictly 
> intellectual qualities).
> 
> In experimental cinema It seems impossible to separate those things.
> Just consider-
> One of the best uses of sound in cinema is Kubelka's Arnulf Rainer and yet it 
> seems the opposite of what the OP is looking for.   
> 
> 2016-05-16 15:45 GMT-04:00 <c...@termite.org>:
> 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 <frameworks@jonasmekasfilms.com>
> 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 <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 no

Re: [Frameworks] Exemplary Sound Design in AG Film

[robert harris]

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 <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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[Frameworks] Exemplary Sound Design in AG Film

[Robert Withers]

You'll find extremely complex layered sound editing in many of the works of 
Abigail Child,
eg,

Is This What You Were Born For? (1981–89) 7 parts
Mercy (1989) Is This What You Were Born For? Part 7
Mayhem (1987) Is This What You Were Born For? Part 6
Covert Action (1984) Is This What You Were Born For? Part 4
Mutiny (1982–83) Is This What You Were Born For? Part 2
Prefaces (1981) Is This What You Were Born For? Part 1



Robert Withers 
(What's AG Film?)


On May 16, 2016, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:

> From: lagonaboba <lagonab...@gmail.com>
> Subject: [Frameworks] Exemplary Sound Design in AG Film
> Date: May 15, 2016 3:36:20 PM EDT
> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
> 
> 
> 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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[Frameworks] NYPL Media Preservation job

[Robert Withers]

Picked up from another list:


From: Rebecca Holte 
Subject: Job posting: NYPL Media Preservation Assistant
Date: May 6, 2016 12:28:04 PM EDT


Please see nypl.org/careers for the the job listing and application process.

NYPL Media Preservation Assistant

Position Description:

Overview:

Located within the New York Public Library Barbara Goldsmith Preservation 
Division, the audio and moving image preservation program safeguards the 
Library’s audio, video, and motion picture film collections through physical 
treatment and reformatting. The program is designed to meet international 
preservation reformatting guidelines and best practices. Labs are 
professionally equipped to accommodate the preservation and reformatting needs 
of a wide range of current and obsolete formats, producing digital preservation 
masters and requisite technical and preservation metadata.

In response to a recent Mellon-funded assessment, the Library is moving forward 
with an ambitious plan to digitize and preserve its critically at-risk media 
holdings over the next 10-15 years. The in-house and vendor programs will 
continue to grow over the next year to accommodate the strategic priority for 
preservation and access of these collections.

The work of the NYPL audio and moving image preservation program enables 
researchers to explore the content of the Library’s rich collections.

See nypl.org/preservation for more information about the program.

The Media Preservation Assistant is responsible for performing quality control 
to ensure that in-house and vendor preservation reformatting labs have met the 
required specifications for digitization of the Library’s audio and moving 
image collections. The position will ensure timely preparation and packaging of 
the digital assets for the digital repository queues and will create access 
derivatives and media as needed. The position will assist the audio and moving 
image lab staff and related stakeholders in project coordination and logistics 
activities across multiple NYPL and vendor locations. The position supports 
planning, documentation, and disaster response activities.

Travel to all NYPL Research Library sites is required, as is participation in 
disaster response and recovery activities. Primary activities will be performed 
at the Preservation Division’s audio and moving image sites at the Library for 
Performing Arts in Manhattan and the Library Services Center in Queens.

This is an 18-24 month grant-funded position with the possibility for renewal 
pending additional grant or other funding.

Principal Responsibilities:

Performs quality control on vendor and in-house work, including checksum 
validation, file specification and metadata quality control (QC). Operates 
complex automated QC analysis software, evaluate QC reports, and performs 
manual QC through critical viewing/listening of files.
Prepares and packages media files and metadata for digital repository ingest. 
Creates access derivatives and access media as needed.
Assists with project coordination and logistics, including inventory, packing, 
shipping, and receiving of original media and storage media.
Additional responsibilities include:
Assists in preparation of statistics and project reports;
Documents workflow and specifications;
Participates in general preservation program activities as time permits;
Participates in the Library’s disaster preparedness and recovery programs; and
Performs other duties as assigned.

Key Competencies:

A strong commitment to high quality and productivity and ability to sustain a 
high quality and accuracy of work over meticulous tasks.
Excellent judgement and problem-solving skills.
Excellent interpersonal skills, including the ability to communicate 
effectively both verbally and in writing.
Ability to work independently and collaboratively as a part of a team.
Ability to work collegially across a complex and dynamic organizational setting.

Minimum Qualifications:

Bachelor’s degree in media- or technology-related discipline, with experience 
working in a digitization facility or on library/archive preservation projects.
Experience with preservation reformatting technologies and media quality 
control workflows.
Critical viewing and listening skills. Familiarity audio and moving image 
metering and analysis.
Experience with and knowledge of digital media file formats.
Experience with and basic knowledge of historic and current audio and moving 
image media formats, including format identification and the visual/sonic 
characteristics and capabilities of legacy media.
Basic knowledge of media preservation workflows.
Experience with Apple and Windows operating systems and experience using word 
processing, spreadsheet, and database software.

Preferred Qualifications:

Master’s degree with preferred specialization in audio and moving media 
preservation, information science, or related discipline plus experience in 
preservation reformatting 

Re: [Frameworks] Films with drawing-in-the-soil trope

[Robert Cargni Mitchell]

Francisco,

Any films will do. Thx!

RC

Robert E. Cargni | Associate Director of Arts | Senior Curator
International House Philadelphia | Programs Office

3701 CHESTNUT STREET | PHILADELPHIA, PA 19104 
phone: 215.895.6555   |  fax: 215.895.6562
email: rcar...@ihphilly.org | web: www.ihousephilly.org   
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Re: [Frameworks] Films with drawing-in-the-soil trope

[Robert Cargni Mitchell]

Greetings Frameworkers,

I was wonder if you all could help me out with filmic references where the 
trope of drawing, or writing in the soil is used.
Thanks in advance.

Best,

RC


Robert E. Cargni | Associate Director of Arts | Senior Curator
International House Philadelphia | Programs Office

3701 CHESTNUT STREET | PHILADELPHIA, PA 19104
phone: 215.895.6555   |  fax: 215.895.6562
email: rcar...@ihphilly.org | web: www.ihousephilly.org
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Re: [Frameworks] S8mm Elmo sound play/record projector

[Robert Withers]

I have an ELMO ST 600 M that I got to run briefly after replacing the two 
belts. But the lubricant is very sticky and it's not threading properly. I'd 
like to get it running to view a boxful of films to decide which to scan. 

I got a recommendation for 
Optech in andover mass
twin sons of guy who used to do bell and howell.
Gary and Jon…Jon is the projector guy.

Any other recommendations?

Thanks,
Robert


212 873-1353 main
212 203-3048 mobile

WithersWorks.com
202 West 80th St. #5W
New York, NY 10024


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Re: [Frameworks] Film/video programers/curators and campus film screenings

[Robert Haller]

Dear Michael,

In college I was at the University of Notre Dame where I was an
officer/programmer of the Student/Faculty Film Society. We mainly showed
foreign titles (Fellini, Kurosawa, Truffaut, DeSica, and other contemporary
directors) but also Bruce Conner; his  A Movie was shown five or six times
in two years with discussions about editing; when President Kennedy was
killed in Texas we were scheduled to show Last Year At Marienbad once, but
because  all campus events were canceled, except us, we showed the Resnais
film four successive times to sold out audiences.  We always provided typed,
well researched, program notes that we sent to living directors.
Michelangelo Antonioni  liked what I wrote about him and sent me a letter of
approval. So did Carl Foreman and John Frankenheimer (years later I got to
spend time with Frankenheimer and Antonioni). --Robert A. Haller, Anthology
Film Archives

From:  Michael Zryd <z...@yorku.ca>
Reply-To:  Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>
Date:  Thu, 17 Mar 2016 14:20:26 -0400
To:  Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
Subject:  [Frameworks] Film/video programers/curators and campus film
screenings

Hi Frameworks: I¹m doing some research on what connections (if any) exist
between people who program or curate film, video, and other moving image
media and their experiences in college and university.

Question: If you are currently programming or curating, did you get any
experience at a college or university campus film society or screening
series?

I know of histories in Toronto at universities like Ryerson, University of
Toronto, and York University, and have read anecdotal accounts from schools
like Binghamton, NY, where students from those schools programmed ambitious
experimental screenings on campus and then continued to program/curate
afterwards, but I¹m wondering how widespread that connection is. And whether
it¹s a North American phenomenon or if it occurs elsewhere.

Please share any stories or personal histories, either privately to me, or
to the listserv.

Thanks!
Michael Zryd € Associate Professor
Department of Cinema & Media Arts
School of the Arts, Media, Performance & Design

YORK UNIVERSITY 
York Lanes 230 € 4700 Keele Street
Toronto ON € Canada M3J 1P3
T 416.736.2100 x66957 / cell: 647-430-8680 / Skype: mjpzryd
z...@yorku.ca <mailto:z...@yorku.ca>  €
http://ampd.yorku.ca/about-us/our-faculty/michael-zryd
<http://finearts.yorku.ca/about-us/our-faculty/michael-zryd>  €
ampd.yorku.ca <http://ampd.yorku.ca/>


York University, one of 2015 Canada¹s Greenest Employers

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Re: [Frameworks] 360 degrees

[Robert Cargni Mitchell]

In 'The Way He Always Wanted It II'  by Stephen Prina there are two separate 14 
minute, 360 degree tracking shots.

RC


From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of John 
Muse [jm...@sonic.net]
Sent: Tuesday, March 1, 2016 8:52 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] 360 degrees

Ah!  Thanks for this tale.  I'll share it with students.

I like this film; not what I expect from Viola; nice to see this.

On Mar 1, 2016, at 7:35 PM, Gene Youngblood  wrote:

> Right! I forgot about that one. He did it by suspending the camera from a 
> ceiling fan. The cable wrapped around the fan until it wouldn’t rotate any 
> more, then he reversed the direction of the fan and video’d until it wrapped 
> up again. He hung the camera so that the orbit wouldn’t be a perfect circle. 
> He put the microphone in a trash can so the voices sound distant.
>
>
>> On Mar 1, 2016, at 5:25 PM, John Muse  wrote:
>>
>> One more, because I'm watching it now!  Bill Viola's Sweet Light: many 360's 
>> around a candle in the center of a table.
>>
>> On Feb 24, 2016, at 9:55 PM, Gene Youngblood  wrote:
>>
>>> Thanks again, all, for these suggestions. It seems the subject is of 
>>> interest to Frameworkers. We saw Peter Greenaway’s “Eisenstein in 
>>> Guanajuato” today. It’s a mess overall, but it does have some very 
>>> inventive circular camera moves, all the more interesting for the way 
>>> they’re edited. One scene alternates rapidly between 360-degree dollies and 
>>> pans in one space, something I hadn’t seen before.
>>>
>>>
 On Feb 24, 2016, at 10:04 AM, Salise Hughes  
 wrote:

 It's been a while since I've seen Fassbender's Whity, but I remember an 
 inverted 380 tracking shot focused on the exchange of cash, the moment 
 love turned to commerce.

 On Tue, Feb 23, 2016 at 10:13 PM, salise.hug...@gmail.com 
  wrote:
 Fassbender's Whity (1971).

 - Reply message -
 From: "Hardin, Ted" 
 To: "Experimental Film Discussion List" 
 Subject: [Frameworks] 360 degrees
 Date: Tue, Feb 23, 2016 8:27 pm


 Rainer Werner Fassbinder’s fondness for this technique was on display at 
 the Martin Gropius Bau in Berlin last year.  Here’s a list of films that 
 were displayed:  “Another room in Fassbinder – JETZT is dedicated to one 
 of Fassbinder’s favoured formal techniques: the 360 degree tracking shot. 
 Scenes from Rio das Mortes (1970), World on a Wire(1973), Martha (1973), 
 Chinese Roulette (1976), Berlin Alexanderplatz (1979/80), and Querelle 
 (1982) play on a loop on a hanging screen.”

 ‘Chinese Roulette’ has my favorite 720 degree tracking shot through glass 
 shelves.

 The write up:  
 http://berlinfilmjournal.com/2015/08/petrified-fassbinder-jetzt-annotated/

 ‘Martha’  clip: https://www.youtube.com/watch?v=8z0tVsI-63g

 Ted Hardin
 Columbia College Chicago

> On Feb 23, 2016, at 8:10 PM, Fred Camper  wrote:
>
> A handheld 360 movement around two young men kissing in an obvious homage 
> to the "Vertigo" kiss appears in Warren Sonbert's first film, 
> "Amphetamine."
>
> Fred Camper
> Chicago
>
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 --
 Salise Hughes
 Artist, Filmmaker, Armchair Anthropologist

 http://salisehughes.blogspot.com
 https://vimeo.com/user1421998




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>>>
>>> ___
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>>
>> j/PrM
>>
>> *
>>
>> john muse
>> visiting assistant professor of independent college programs
>> haverford college
>> http://www.finleymuse.com
>> http://www.haverford.edu/faculty/jmuse
>> http://haverford.academia.edu/JohnMuse
>>
>> *
>>
>>
>>
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j/PrM

*

john muse
visiting 

[Frameworks] Ganon GL-2 minidv camcorder repair

[Robert Withers]

My lovely Canon GL-2 fell off(!) a tripod. Something about the quick-release 
mount. 
The LCD screen is knocked cock-eyed but the camera otherwise seems to work.

There are two California repair shops that show up online . . .
http://www.videoonerepair.com/ in Newbury Park, specializes in only Canon and 
Sony camcorders
http://camcorderrepair.com/canon-GL2.htm--in Glendale, all camcorders including 
Canon, Sony, Panasonic, JVC -- they quoted $150 repair without seeing the camera

Does anyone have experience with either of these or another?

Thanks,
Robert

212 873-1353 main
212 203-3048 mobile

WithersWorks.com
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New York, NY 10024


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[Frameworks] Cinemalab (formerly Western Cine) ceases photochemical operations

[Robert Schaller]

In the end, it happened suddenly.  There had been difficult negotiations with 
an avaricious landlord for a few months.  It looked like it would be worked 
out, that there were at least three months before any move would need to be 
contemplated, but some ten days ago the landlord arbitrarily decided that he 
needed another $1,000 a month effective immediately.  It was the proverbial 
straw that broke the camel's back, and the lab decided to say no.  A week ago 
was the final processing run; tomorrow the last things leave the building.

One of three processing machines is being saved, intended for a new artist-run 
lab in Denver.  I grieve for the others, but they were too big and there was no 
time.

So passes a lab that has consistently been a vital part of the experimental 
film world.  They printed many, many important and beautiful films from 
Brakhage's Interim in 1952 to Mothlight  to the work of Phil Solomon to Nick 
Dorsky's most recent work.  They will be missed, a casualty of a changing 
commercial landscape and, oddly, of the legalization of marijuana in Colorado 
that has driven up rent for warehouse space.

There are a number of optical and contact printers, optical sound recorders, 
etc., that have been saved.  Please contact Robert David, the owner of 
Cinemalab, at 303 783 1020 or robert.da...@cinemalab.com for more information.

Meanwhile, Cinemalab continues it's digital mastering and film transfer work. 
In a much smaller space…

RIP, Cinemalab.


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Re: [Frameworks] storing chemistry

[Robert Schaller]

Hi Katherine!

It's certainly better if they don't freeze, to say the least!  I've never 
actually had film chemicals freeze, but I have noticed that solutions that are 
concentrated, like black and white reversal clearing bath, tend to fall out of 
solution when stored at 50°F, and that what falls out does not redissolve even 
on warming.  I would guess that freezing would cause all kinds of precipitation 
that would be hard to reverse, and that this would be trouble enough even aside 
from the possibility that freezing would harm any of the solutes themselves.

I think letting them freeze is a bad idea.  If you can bring them in, do!  A 
stable temperature is a good idea.

On Feb 10, 2016, at 3:45 PM, Katherine Bauer  wrote:

> 
> Hi Frameworks,
> I have an enclosed porch that I wanted to turn into a dark room, it is sort 
> of insulated, but it is still cold, Im in upstate NY. I haven't put a 
> thermometer out there, but we have some nights coming up that might be in the 
> tens if not single digits coming up. What happens if chemicals freeze? Like, 
> I have a liquid E6 kit and C14 kits etc.that I would like to keep on the 
> porch. Can I store them out there, or is it better not to because 
> temperatures at night can drop? Is it better if the temperature is more 
> stable anyway? Like an inside closet? 
> Thanks! 
> 
> 
> 
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Re: [Frameworks] Eclipse on film

[Robert Schaller]

I'm not looking at the whole thread, but I have to recommend one of my
favorite films, Peter Rose's "The Man Who Could Not See Far Enough," which
has a whole segment of people watching a solar eclipse.

On Tue, February 9, 2016 11:15 am, graeme hogg wrote:
>

>
> Our recent 'Film That Buys The Cinema' (an anthology film made up of 70 x
>  1 minute films) has one film of what 'appears' to be a solar eclipse,
> its the one by Ben Rivers.
>
> http://www.cubecinema.com/cgi-bin/ftbtc/ftbtc.pl
>
>
>
>
>> 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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>>
>
> --
>
>
> ||
> NACHLEBEN FILM LAB AND ARCHIVE
> http://www.bristol-channel.org/skomer
> CUBE CINEMA. BRISTOL
> http://www.cubecinema.com/
> ||
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[Frameworks] Upgrading Mac Tower for optimal FCP 7 performance

[Robert Withers]

Hi,
A vote against switching from FCP 7 to Premiere Pro, especially in mid-project.

I did this because of the Apple OS/FCP upgrades/mismatches and I've regretted 
it. The translation process is not seamless. 

PPro works fundamentally differently from FCP7 under the hood. Software is 
updated too often, to add new features rather to refine and stabilize. 

Read any PPro discussion list and you will see hundreds of posts about crashing 
and things that don't work, especially after every upgrade. 

A friend has edited two independent features in FCP7 on MacBook Pros running 
Mountain Lion and it's still working for her. 

Good luck,
Robert


WithersWorks.com



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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[robert harris]

Earth, Dovzhenko


On Jan 14, 2016, at 12:50 PM, Heath Iverson  wrote:

> Any suggestions on avant-garde/experimental films that deal with any aspects 
> of farming/gardening/plant or animal agriculture?
> 
> A few examples might be Marjorie Keller's Answering Furrow or Lucien 
> Castaing-Taylor's Sweetgrass. Other ideas? 
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[robert harris]

The “early cinema/early video” query is a good one, one that I’ve not seen 
explored with much rigor. 

Kleinhans’ question of “broadcast TV or portapak” is significant.

Early TV might have more in common with radio than with early film.

Early video (portapak) provoked, for some practitioners, sensibilities in 
keeping with those of the Lumieres. 

The Lumiere camera was more like video than any other camera (including the 
Edison version) as it was, like video, a capture and playback device (and lab).

The promptness with which the Lumieres could playback their recordings (if my 
film mythology serves me) is almost video-like (time was a little slower in 
those days, so they say).

 Both early film and early video were made without post-production edits, hence 
were finished in camera.

 Video’s instant feedback loop is an unequivocal distinction from film.

To give proper attention to all origin strains of video, you have to consider 
camera-less, raster based work (Nam June Paik, Wolf Vostell and others).

The “early cinema” equivalent might be the first people to mark on clear 
leader, some Italian Futurists, Hans Richter, Man Ray etc.

 As to cultural “outrage”, it wasn’t uncommon for the people throwing things at 
the artists and making big scenes to be the Surrealists themselves.

 

Some worthy writing of early video (essays you should be able to easily find): 

Hollis Frampton, The Withering Away of the State of the Art

David Antin, Video: The Distinctive Features of the Medium




On Jan 13, 2016, at 2:46 AM, Chuck Kleinhans  wrote:

> An answer depends on how “early” you’re talking about film (1890s? later?), 
> and about video (Broadcast TV or Portapak?).  Probably the most significant 
> common feature is the fixed camera position.
> 
> The most significant difference (beyond the obvious one of resolution) is 
> shot duration.  Video (portpak on) allowed for remarkably long shots compared 
> to almost all film.
> 
> If you (or anyone) can find it, Noel Burch’s film “Correction Please, or How 
> We Got Into Pictures” is a great explanation of the evolution of early films' 
> means and style, concentrating on how the audience was shaped by the evolving 
> formal elements of cinema.
> 
> Chuck Kleinhans
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Re: [Frameworks] 16mm prints turned pink

[Robert Withers]

Dear Frameworkers,
Thanks for all the interesting responses to this issue. There is such a wealth 
of knowledge here!

Glad to know there are some digital restoration possibilities, though sounds 
like something that should be done sooner before further shifts happen. Aii, 
the tension between preserving the old and making the new. 

I wonder how Kodak color prints and negatives of today will behave? Were they 
improved after the 70's?
Once converted into digital, we're into the ever-shifting technology stream 
that still seems to have no practical archival process that won't require 
constant updating. 

I think of the B/W paper prints in the Library of Congress that are still 
preserving films of the early 1900s. Illuminated manuscripts on vellum have 
held up pretty well for 600 years, if limited to beautiful blue, red, and gold. 
I wonder if the Technicolor process with three B/W separation negatives still 
exists in China, where Technicolor sold it?

Or should we think of movies as an essentially ephemeral art, like dance, with 
a life span similar to our own?

Cheers,
Robert Withers



WithersWorks.com



On Dec 19, 2015, at 7:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:

> 
> 
> From: cbifi...@gmail.com
> Subject: Re: [Frameworks] 16mm prints turned pink
> Date: December 18, 2015 2:17:53 PM EST
> To: Dominic Angerame <frameworks@jonasmekasfilms.com>, Experimental Film 
> Discussion List <frameworks@jonasmekasfilms.com>
> 
> 
> I did a pretty good job of colour correcting a red print by shooting it with 
> a video camera set to auto colour balance. The shutter could be adjusted in 
> 10ths to eliminate flicker.  It brought it right back to where it should be 
> colour-wise and was just slightly more muted than the original likely was.  
> 
> Sent from my BlackBerry 10 smartphone on the Rogers network.
> From: Dominic Angerame
> Sent: Friday, December 18, 2015 10:23
> To: Experimental Film Discussion List
> Reply To: Experimental Film Discussion List
> Subject: Re: [Frameworks] 16mm prints turned pink
> 
> Alas all of this is true. A Canyon Cinema I found most of the color prints 
> made in the 70's had turned red. This even happens when the film is never 
> projected. When I worked at the Encyclopedia Britannica in the early 70's 
> most of their prints had turned red. I am inspecting the 16mm film collection 
> at the SF ARt Institute and am finding the same situation with some prints 
> made during the 70's and some 1980 print.
> 
> 
> On Thu, Dec 17, 2015 at 8:13 PM, Jeff Kreines <j...@kinetta.com> wrote:
> Eastmancolor was very bad in terms of magenta fading.
> 
> I’ve seem excellent work scanning faded prints and restoring the color (using 
> lots of nodes in Resolve) and doing filmouts (16mm 5K, or 35mm) by VFS, now 
> merged with Colorlab.
> 
> The trick is to have at least a tiny bit of the missing colors present in the 
> scan, to give the software something that it can work with.
> 
> > On Dec 17, 2015, at 9:46 PM, Scott Dorsey <klu...@panix.com> wrote:
> >
> > I don't remember whether it had to be slightly acid or slightly basic, and
> > it was _just_ a thing with the Agfa/Ansco chemistry which is very different
> > (and can be a lot more stable than) the modern Eastman chemistry.  I think
> > there is a discussion of it in Mees' book, though.
> > --scott
> > ___
> > FrameWorks mailing list
> > FrameWorks@jonasmekasfilms.com
> > https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
> 

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[Frameworks] 16mm prints turned pink

[Robert Withers]

Hello Frameworkers,
I have some 16mm color release prints from the 1970s that have turned 
pinkish/magenta. Need to check records to see if they're reversal or from 
negative. And to check reversal camera original and films from 80s/90s. This is 
a lot of material to go through.

Another filmmaker I know had this happen to color prints. Does anyone have 
experience with or info about this phenomenon?

Thanks,
Robert


WithersWorks.com



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[Frameworks] Web page or Vimeo

[Robert Withers]

Hello Frameworkers,
A second attempt to post this . . . 
I have a web site that requires me to keep the provider paid up and work to 
update and maintain it. Mostly I use it to feature some films.
I also have a vimeo page that is very easy to upload films to and edit. It 
doesn't cost me anything and may last longer than me. 
Is there any reason for a filmmaker to have a dedicated web page except perhaps 
to sell things?
Thanks for any thoughts on this . . .
Cheers,
Robert


withe...@earthlink.net

WithersWorks.com
https://vimeo.com/robertwithers
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Re: [Frameworks] Bi-packing acetate in a Bolex

[Robert Todd]

She did it in a darkroom, I think she unloaded the film from a daylight spool 
onto another daylight spool, used spacers and a spring clamp to hold the 
tails-out HiCon and the tails-our TRI-X in place on the rewinds and spooled 
those back, then ran it through the boles in dim light to help guide the 
alignment. I can write her…

On Dec 5, 2015, at 6:18 PM, Chris G  wrote:

> That's reassuring Nicky! I'll be ready to shoot tomorrow after I shoot and 
> process the first pass of my mattes, any tips on loading? 
> 
> Thanks,
> Chris
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Re: [Frameworks] Patterns in a Mind's Eye: Seeing the Unnamable

[Robert Schaller]

Hi Steve!

They are indeed my films -- it didn't even occur to me that that would not be 
clear.  My mistake!  Several are completely new;  two of the Wilderness Film 
films are fully collaborative amongst the group of us who were there to make 
them.

The page for the show is: 
http://bplnow.boulderlibrary.org/event/2015-11-23/29061

There will be more up about the films on my website sometime after the show, at 
www.robertschaller.org/film

--Robert

On Nov 20, 2015, at 11:34 AM, Steve Polta <steve.po...@gmail.com> wrote:

> Hi Robert. I'd like more information on this screening. Is there a listing 
> somewhere (e.g. on a website) that lists the actual films to be screened? Are 
> these all films by you or are films by others included? It's hard (for me) to 
> tell from this posting...
> 
> On Fri, Nov 20, 2015 at 7:12 AM, Robert Schaller <rob...@ontosmedia.com> 
> wrote:
> Patterns in a Mind's Eye: Seeing the Unnamable
> 
> Please join experimental filmmaker and composer Robert Schaller as he 
> presents a collection of short impressionistic  works for film and live music 
> that explore the relationship of mind, body, and world.  The program ranges 
> from the filmmaker's performance of Messiaen's foundational pianistic 
> transcription of birdsong (here as the "Allouette Lulu," or Woodlark), to 
> pieces that apply this formalistic nature-based thinking to works for film, 
> film and cello,  and several handmade films created high in the Colorado 
> backcountry during his annual Handmade Film Institute's Wilderness Film 
> Expedition.
> 
> The event takes place on Monday, November 23rd at the Boulder Public Library, 
> 1001 Arapahoe Ave, Boulder, from 6 - 7:30 pm.  There is no admission charge.
> ___
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[Frameworks] Patterns in a Mind's Eye: Seeing the Unnamable

[Robert Schaller]

Patterns in a Mind's Eye: Seeing the Unnamable
 
Please join experimental filmmaker and composer Robert Schaller as he presents 
a collection of short impressionistic  works for film and live music that 
explore the relationship of mind, body, and world.  The program ranges from the 
filmmaker's performance of Messiaen's foundational pianistic transcription of 
birdsong (here as the "Allouette Lulu," or Woodlark), to pieces that apply this 
formalistic nature-based thinking to works for film, film and cello,  and 
several handmade films created high in the Colorado backcountry during his 
annual Handmade Film Institute's Wilderness Film Expedition.
 
The event takes place on Monday, November 23rd at the Boulder Public Library, 
1001 Arapahoe Ave, Boulder, from 6 - 7:30 pm.  There is no admission charge.
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[Frameworks] Projector/optical sound reader that's easy on film

[Robert Withers]

Hi all,
I have 16mm silent and optical sound film I need to evaluate, clean, and repair 
to prep for digital transfers. 
Can't believe I gave up a 4-plate Steenbeck years ago.
I haven't run my film projectors in years--refurbishing has been advised. I 
have a Moviskop viewer but no optical reader. 

Any thoughts on available equipment to check out these 16mm sound optical 
prints with least likelihood of scratching or damaging?

Many thanks,
Robert Withers


rob...@withersworks.com
WithersWorks.com
New York, NY 10024




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[Frameworks] Women filmmaker autobiographies (Noé Rodríguez)

[Robert Withers]

Check out 
This Is Called Moving: A Critical Poetics of Film (Modern & Contemporary 
Poetics) by Abigail Child and Tom Gunning (Jun 26, 2005)

(Tom Gunning wrote the introduction)

It's not strictly an autobiography but deeply personal, theoretical, feminist, 
and thoughtful. All intertwined.

 Of course there are the interesting Feminist Film Theorists: Laura Mulvey, 
Kaja Silverman, Teresa de Lauretis, Barbara Creed
and Maya Deren: 
Essential Deren: Collected Writings on Film Paperback – January 3, 2005


And Trinh T. Minh-ha of course, an accomplished filmmaker/essayist.

Cheers,
Robert

212 873-1353 main
212 203-3048 mobile

WithersWorks.com
202 West 80th St. #5W
New York, NY 10024


On Sep 16, 2015, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:

>  Women filmmaker autobiographies (Noé Rodríguez)

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Re: [Frameworks] Women filmmaker autobiographies

[Robert Haller]

Re. Women writing about their film-making/autobiographies.  See Flesh Into
Light by Robert Haller ‹ on Amy Greenfield, with extensive writing by
Greenfield on her films. Book is in print from University of Chicago Press.
-- R. Haller

From:  George Robinson <george.robinson.communicati...@gmail.com>
Reply-To:  Experimental Film Discussion List
<frameworks@jonasmekasfilms.com>
Date:  Wed, 16 Sep 2015 02:44:40 -0400
To:  Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
Subject:  Re: [Frameworks] Women filmmaker autobiographies


 Woman with a Movie Camera: My Life as a Russian Filmmaker by Marina
Goldovskaya, a documentarian
 The Memoirs of Alice Guy Blache
 HAMMER! Making Movies Out of Sex and Life by Barbara Hammer
 
 Hope this helps a bit,
 
 George Robinson
 
 
-- 

Check out my blogs: www.cine-journal.blogspot.com
<http://www.cine-journal.blogspot.com>  and
http://shirimkhadashim.blogspot.com
Follow me on Twitter: @GRCommunicati13
 
 
 
On 9/15/2015 11:59 PM, Noé Rodríguez wrote:
 
 
> Hello frameworkers,
>  
>  I am compiling a list of books written by filmmakers about their own work and
> contextualizing it within their life experience in the form of an
> autobiography of their life in relation to film.
>  I am interested in books by filmmakers reflecting on their practice in a deep
> personal way, where their ideas about film are framed within their particular
> approach to film-making and their personal understanding of what film is.
>  I am looking for full books, not articles. Books that compile personal essays
> reflecting on the filmmakers work are also considered. i.e Antonioni's
> Architecture of Vision.
>  
>  I have found numerous books written by filmmakers ranging from Jean Renoir to
> Brackhage, however I am having trouble finding examples of books like this
> written by women filmmakers.
>  If you could give me some recommendations, that would be greatly appreciated.
>  
>  Thank you very much,
>  
>  Noé 
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>  
 
 
 
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[Frameworks] Free 16mm Films (Brendan & Jeremy Smyth)

[Robert Withers]

What kind of films are these free films? Random footage? Archival art works?
Thanks,
Robert


WithersWorks.com
202 West 80th St. #5W
New York, NY 10024


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Re: [Frameworks] Titles of scratch films

[robert harris]

Much of Aldo Tambellini’s early film work:

Black Is
Blackout

and others


On Aug 25, 2015, at 3:14 PM, Scott MacDonald smacd...@hamilton.edu wrote:

 Su Friedrich's GENTLY DOWN THE STREAM and THE TIES THAT BIND.
 
 Robert Huot's SCRATCH
 
 Diana Barrie's MAGIC EXPLAINED
 
 Taka Iimura's 1 TO 60 SECONDS
 
 I'll keep thinkin'
 
 Scott
 
 On Tue, Aug 25, 2015 at 12:08 PM, Tess Takahashi tess.takaha...@gmail.com 
 wrote:
 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] Stephanie Beroes

[Robert Haller]

Dear Ben,

I have not talked to Stephnie for some years, but the last address is 7
Partridge Drive, Sag Harbor, NY  11963 -- Robert Haller

On 5/27/15 3:55 PM, Ben Ogrodnik ben.ogrod...@gmail.com wrote:

Hello all, 
Long time lurker here. I wanted to ask if anyone might have contact
information (email address, really) for the filmmaker Stephanie Beroes. I
am a graduate student in film working on a piece about Beroes at the
moment, and wish to ask her some questions about her innovative
practice. Would be *extremely* grateful to anyone who can help me out
with this. Take care.
-Ben

Sent from my iPad
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[Frameworks] Handmade Film Institute Events 2015 (with links!)

[Robert Schaller]

Pacific Northwest Film Camp
http://www.handmadefilm.org/classes/orcas/

June 20 - 28, 2015

Spend a week on beautiful Orcas Island, WA investigating celluloid film as a 
physical medium, learning to make your own emulsion, exploring various 
hand-processing techniques, and pushing the creative and aesthetic limits of 
the   handmade filmmaking process from start to finish. Our home base is 
located right at the water's edge - and whether you choose to camp in the great 
outdoors or take advantage of limited indoor accommodations in the lodge, the 
setting will provide an inspirational backdrop for an intensive immersion in 
all aspects of filmmaking. The week will also include a filmmaking excursion to 
uninhabited Sucia Island, designated as a Washington State Park. We will share 
gourmet meals al fresco featuring the Handmade Film Institute's legendary vegan 
cuisine. All materials are provided, and participants will have access to 
conventional and underwater filmmaking equipment, as well as darkroom and 
printing facilities.


The Handmade Filmmaking Camp
http://www.handmadefilm.org/RockyMountainHandMadeFilmCamp/

July 18 - 26, 2016

Now in its twelfth year, this is the Handmade Film Institute's foundational 
workshop. We spend a week at 8200 feet in the Rocky Mountains engaged in a 
comprehensive investigation of film as a physical medium. As film artists, we 
will delve into a detailed exploration of celluloid film stocks and development 
processes with an eye to unlocking and expanding their potential as artistic 
media. Choose your own spot to pitch a tent in the beautiful forests and 
meadows surrounding the house, and get ready for a focused, introspective and 
inspirational week. The week includes a filmmaking excursion to the Indian 
Peaks Wilderness, one of Colorado's most scenic preserves located at the 
Continental Divide.  

Workshop participants will have access 24/7 to full darkroom and printing 
facilities, and all materials and film stocks are provided. Past participants 
rave about the gourmet vegan meals and the sense of creative community that is 
nurtured during mealtime conversations. If you're after a transformative 
experience through a thorough, intensive, lab-based study of the film medium, 
this is the workshop for you.


The Wilderness Film Expedition
http://www.handmadefilm.org/wildernessFilmmaking/

August 1 - 16, 2015

New this year, we will extend this unique backcountry expedition into a full 
two-week immersion devoted to producing a complete 16mm Mountain Symphony 
film that we will shoot, process, edit and premiere in the wilderness.  We will 
explore zero-emissions filmmaking in this remote and beautiful setting not just 
in its technical dimension, but in its aesthetic dimension as well. We will be 
staying long enough that our artistic senses and creative decisions can 
themselves become permeated by the wilderness, and thus the visions that we 
create on location reflect our presence there both in subject and in how we 
think about the subject. As in past years, we transport an entire simplified 
handmade filmmaking apparatus on our backs, carrying the necessary chemistry, 
film stocks, cameras, editing tools and projection equipment up to our campsite 
at 10,500 feet. Once established, the base camp becomes a filmmaking studio en 
plein air - the streams hydrate our chemistry, the sun dries our film, and the 
darkness of the night provides the limitless darkroom in which we work. 
Frequent climbs, day hikes, and opportunities for quiet reflection will offer 
unlimited opportunity to think, capture footage, push your limits, and explore 
this little-known magnificent area of Colorado.

If you have any questions, please contact the Handmade Film Institute at 
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[Frameworks] Handmade Film Institute Events 2015

[Robert Schaller]

Pacific Northwest Film Camp
June 20 - 28, 2015

Spend a week on beautiful Orcas Island, WA investigating celluloid film as a 
physical medium, learning to make your own emulsion, exploring various 
hand-processing techniques, and pushing the creative and aesthetic limits of 
the   handmade filmmaking process from start to finish. Our home base is 
located right at the water's edge - and whether you choose to camp in the great 
outdoors or take advantage of limited indoor accommodations in the lodge, the 
setting will provide an inspirational backdrop for an intensive immersion in 
all aspects of filmmaking. The week will also include a filmmaking excursion to 
uninhabited Sucia Island, designated as a Washington State Park. We will share 
gourmet meals al fresco featuring the Handmade Film Institute's legendary vegan 
cuisine. All materials are provided, and participants will have access to 
conventional and underwater filmmaking equipment, as well as darkroom and 
printing facilities.


The Handmade Filmmaking Camp
July 18 - 26, 2016

Now in its twelfth year, this is the Handmade Film Institute's foundational 
workshop. We spend a week at 8200 feet in the Rocky Mountains engaged in a 
comprehensive investigation of film as a physical medium. As film artists, we 
will delve into a detailed exploration of celluloid film stocks and development 
processes with an eye to unlocking and expanding their potential as artistic 
media. Choose your own spot to pitch a tent in the beautiful forests and 
meadows surrounding the house, and get ready for a focused, introspective and 
inspirational week. The week includes a filmmaking excursion to the Indian 
Peaks Wilderness, one of Colorado's most scenic preserves located at the 
Continental Divide.  

Workshop participants will have access 24/7 to full darkroom and printing 
facilities, and all materials and film stocks are provided. Past participants 
rave about the gourmet vegan meals and the sense of creative community that is 
nurtured during mealtime conversations. If you're after a transformative 
experience through a thorough, intensive, lab-based study of the film medium, 
this is the workshop for you.


The Wilderness Film Expedition
August 1 - 16, 2015

New this year, we will extend this unique backcountry expedition into a full 
two-week immersion devoted to producing a complete 16mm Mountain Symphony 
film that we will shoot, process, edit and premiere in the wilderness.  We will 
explore zero-emissions filmmaking in this remote and beautiful setting not just 
in its technical dimension, but in its aesthetic dimension as well. We will be 
staying long enough that our artistic senses and creative decisions can 
themselves become permeated by the wilderness, and thus the visions that we 
create on location reflect our presence there both in subject and in how we 
think about the subject. As in past years, we transport an entire simplified 
handmade filmmaking apparatus on our backs, carrying the necessary chemistry, 
film stocks, cameras, editing tools and projection equipment up to our campsite 
at 10,500 feet. Once established, the base camp becomes a filmmaking studio en 
plein air - the streams hydrate our chemistry, the sun dries our film, and the 
darkness of the night provides the limitless darkroom in which we work. 
Frequent climbs, day hikes, and opportunities for quiet reflection will offer 
unlimited opportunity to think, capture footage, push your limits, and explore 
this little-known magnificent area of Colorado.
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Re: [Frameworks] Howard Guttenplan (April 6th, 1934 - February 23rd, 2015)

[robert harris]

I spent one year (1970-71) of undergraduate studies at Sara Lawrence College.  
Howard was then the “film tech/equipment guy” supporting the film production 
program.  The teacher was theatre director Wilford Leach (who directed the 1983 
film version of Pirate of Penzance), a basically good man who had little 
interest in avant garde film. Jon Avnet was Leach’s favorite student.  Howard 
was confidant and an oasis in an otherwise onerous scene.  Howard brought good 
people around, Paul Sharits, Gregg Sharits, Jud Yalkut, David Rimmer, Werner 
Nekes and Dore O.

 Around this same time, with the opening of Anthology in Kubelka’s “Invisible 
Cinema theatre”, screening primarily the “essential cinema” repertory, the 
Millennium, under Howard Guttenplan, was, in NY, THE venue for the “artist 
present screening new work” model for exhibiting radical film. Among the most 
memorable screenings, upstairs on Great Jones St, I recall Hollis Frampton’s 
premiers of the Hapax Legomena films and numerous Magellan works; Brakhage’s 
premier of “Act of Seeing with One’s Own Eyes (and many other films); and Jack 
Smith performing with projector and turntable.

Years later, when I directed the Video program at Anthology, Jonas elected to 
suspended film screenings while leaving 80 Wooster St. and moving to the 
courthouse. Thanks to Howard’s generous willingness to allow us to use the 
Millennium theater space, we kept the Video program active, moving our decks 
and monitors to 4th Street and featuring artists in person screenings on a 
weekly basis.

bob h.



On Mar 5, 2015, at 10:26 AM, conrad con...@buffalo.edu wrote:

 I am shocked and saddened to read this; Howard seemed ready to be there 
 forever, unchanging, like a post holding up one of the great tents of 
 filmmaking. He had the perspicacity and daring to let me show my Yellow 
 Movies in 1973, when they were all but illegible (other than by Jonas). And 
 of course he brokered show after show of works and makers who could never at 
 the time otherwise have had any resonant springboard of visibility. His 
 understanding of the cultural moment and inertia this represented is engraved 
 in his founding of MFJ, of his unbending embrace with Millennium, and even in 
 the certain remove one found in him: and it worked, Howard.
 
 ---t0ny
 
 
 On 03/04/2015 3:58 pm, Jay Hudson wrote:
 Just this afternoon, I received the shocking and sad news that Howard
 Guttenplan, the long term director of the Millennium Film Workshop
 passed away February 23, 2015.  He was laid to rest at Calverton
 National Cemetery in Long Island.
 Howard was a complicated person.  Keeping an organization like
 Millennium going for so long was a solitary and difficult task.  The
 funeral home director told me that he felt that Howard wanted to go
 out alone, only accompanied by a close childhood friend.  That is so
 much the way that Howard was.
 When I was running the Millennium and working on the gargantuan task
 of sorting old materials, the complete history of Howard's tenure came
 before my eyes.  Virtually every experimental filmmaker of note came
 through the doors.  It is no accident that Stan Brakhage's New York
 premieres were at Millennium, or that Jack Smith spent countless hours
 watching film and editing with scotch tape.  Countless filmmakers were
 loyal to Howard.
 Despite the struggles that I had with him reforming the Millennium, he
 gave me a full set of the Journal as a token of appreciation.  He gave
 me my first solo show.  Even when he at his most pissed off at me, he
 always complimented my work.
 There was something very unique and special because of what Howard did
 and who he was.  Millennium is still thriving.  And from me
 personally, Howard's New York Diary changed me as a filmmaker.  I hope
 that his film and photographic work will be preserved and archived.
 Requiescat in pace.
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Re: [Frameworks] Books on the History of Avant-Garde film in US

[Robert Haller]

Crossroads: Avant-Garde film in Pittsburgh in the 1970s, by Robert Haller,
Anthology Film Archives, 2005
First Light: Abstract Light Forms, edited by Robert Haller, Anthology Film
Archives, 1998
-- R. Haller

From:  Andy Ditzler a...@andyditzler.com
Reply-To:  Experimental Film Discussion List
frameworks@jonasmekasfilms.com
Date:  Thu, 29 Jan 2015 13:53:24 -0500
To:  Experimental Film Discussion List frameworks@jonasmekasfilms.com
Subject:  Re: [Frameworks] Books on the History of Avant-Garde film in US

Steve Anker, et al, Radical Light: Alternative Film and Video in the San
Francisco Bay Area, 1945-2000
Bart Testa, Back and Forth: Early Cinema and the Avant-Garde
A. L. Rees et al, Expanded Cinema: Art, Performance, Film
Robin Blaetz, Women¹s Experimental Cinema: Critical Frameworks
Scott MacDonald's edited volumes of primary documents on Art in Cinema and
Cinema 16
Robert Pike, A Critical Study of the West Coast Experimental Film Movement
(UCLA dissertation, 1960)
Jeffrey Skoller, Shadows, Specters, Shards: Making History in Avant-Garde
Film
Stephen Dwoskin, Film Is: The International Free Cinema
David E. James, Allegories of Cinema

-- 

Andy Ditzler
www.filmlove.org http://www.filmlove.org/
www.johnq.org http://www.johnq.org/
Graduate Institute of the Liberal Arts, Emory University

On Thu, Jan 29, 2015 at 1:16 PM, Michael Betancourt
hinterland.mov...@gmail.com wrote:
 I'm sure I'm forgetting something, so please help!
 
 
 Histories of avant-garde film in the United States:
  
  
 Lewis Jacobs, ³Experimental Cinema in America 1921-1947² in The Rise of the
 American Film (1948)
 Roger Manvell, Experiment in the Film (1949)
  
 Gregory Battcock, The New American Cinema (1967)
  
 Sheldan Renan, An Introduction to the American Underground Film (1967)
  
 Parker Tyler, The Underground Film: A Critical History (1698)
  
 Gene Youngblood, Expanded Cinema (1970)
  
 David Curtis, Experimental Cinema (1971)
  
 Amos Vogel, Film as a Subversive Art (1976)
  
 P. Adams Sitney, Visionary Film (1974)
  
 Maureen Turin, Abstraction in Avant-Garde Films (1978/85)
  
 William Wees, Light Moving in Time: Studies in the Visual Aesthetics of
 Avant-Garde Film (1992)
  
 Scott MacDonald, Avant-Garde Film Motion Studies (1993)
  
 James Peterson, Dreams of Chaos, Visions of Order (1994)
  
 Jan-Christopher Horak, Lovers of Cinema: The First American Film Avant-garde,
 1919-1945 (1998)
  
 Joan Hawkins, Cutting Edge: Art-Horror and the Horrific Avant-Garde (2000)
  
 Bruce Posner, Unseen Cinema: Early American Avant-Garde Film 1893-1941 (2001)
  
 Lauren Rabinovitz, Points of Resistance: Women, Power, and Politics in the New
 York Avant-garde Cinema, 1943-71 (2003)
  
 David E. James, The Most Typical Avant-Garde: History and Geography of Minor
 Cinemas in Los Angeles (2005)
  
 Paul Arthur, Line of Sight: American Avant-Garde Film Since 1965 (2005)
  
 Alexander Graf, ed., Avant-Garde Film (Avant-Garde Critical Studies 23) (2007)
  
 A. L. Rees, A History of Experimental Film and Video (2011)
 
 
 Michael Betancourt
 Savannah, GA USA
 
 
 michaelbetancourt.com http://michaelbetancourt.com
 twitter.com/cinegraphic http://twitter.com/cinegraphic  |
 vimeo.com/cinegraphic http://vimeo.com/cinegraphic
 www.cinegraphic.net http://www.cinegraphic.net  | the avant-garde film 
 video blog
 
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[Frameworks] OtherZine Call for Submissions: Issue #28

[Robert Edmondson]

Hi everyone! OtherZine, the semi-annual 'zine of long-standing bastion of 
experimental film, video, and performance in San Francisco’s Mission District, 
OTHER CINEMA, is now accepting submissions for its nearing Issue #28! 

Whether avant-garde or engagé, our emphasis is on the radical subjectivities 
and sub-cultural sensibilities that find expression in marginalized cinematic 
genres, media archaeology efforts, as well as contemporary intermedia hybrids. 

We encourage cinema-related writings and artist projects that support these 
endeavors and other experiments in media culture—essays, articles, interviews, 
reviews (art, books, media, events), rants, videos, illustrations, images, and 
other articulated brainstorms! For examples of each, please explore our last 
issue at http://www.othercinema.com/otherzine

To aid us with the submission process, it is recommended, though not required, 
that you first submit a brief proposal (no word limit). All final written 
submissions must be sent as attachments by March 1st (.doc, .docx, .rtf, .pdf):
Essays and articles: 1000-2000 words.
Reviews: 500-1000 words.
Artists’ Projects: No word limit, often with more emphasis on media.
Please also include with your final submission:
1. A bio of no more than 150 words.
2. We encourage and accept any of the following media for artist projects, or 
to illustrate your writing. Please also include all relevant credit info. If 
you choose not to provide any media, some may be chosen for you.
· Images (links; 72dpi/web-ready, jpg, png, gif)
· Video (vimeo or youtube links)
· Audio (SoundCloud link; mp3)
3. Any related links, including author website and social media, and additional 
reference links to supplement the writing.
Please send written submissions, bio, and any media links to: 
otherz...@othercinema.com.___
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Re: [Frameworks] 16mm process and HD transfer at/for colleges

[Robert Houllahan]

We do same day turnaround on BW Reversal with 1080P Telecine at Cinelab in New 
Bedford Mass

We also develop 8mm, 16mm and 35mm in BW-N and ECN plus 16mm and 35mm prints 
in ECP and BW

I just bought one of Deluxe Hollywood's BH Panel printers which will be on a 
truck here soon and we bought the newest of DuArt's Photomec film processors 
which is now in New Bedford for 16mm  35mm ECN

We are very friendly to students and work with allot of schools.



Robert Houllahan
VP - Colorist
HD-2K-3K-4K Data Scans 
8mm-16mm-35mm Lab
www.cinelab.com
r...@cinelab.com




Robert Houllahan
Film Maker
www.lunarfilms.com
http://www.vimeo.com/lunarfilms
http://robhoullahan.tumblr.com/



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Re: [Frameworks] Crystal sync 16mm camera rental in Boston/New England

[robert harris]

Like Jeff says:  Rule/Boston Camera

www.rule.com


On Oct 17, 2014, at 7:04 PM, Jeff Kreines wrote:

 Rule/Boston Camera.
 
 
 On Oct 17, 2014, at 5:05 PM, Adam R. Levine ada...@gmail.com wrote:
 
 
 
 Jeff Kreines
 Kinetta
 j...@kinetta.com
 kinetta.com
 
 
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