Re: [Frameworks] Andrew Noren
It's really a bad news. I remember when I saw *Charmed Particles* for the first time. A true fascinating film on the reality of light and the flesh illusory. More recently, his film *Imaginary Light *explored another field for light (moving abstraction). A true underestimate artist. 2015-05-26 20:25 GMT+02:00 Dominic Angerame dominic.anger...@gmail.com: I had the pleasure of meeting Andrew many years ago at a film exhibition where we both showed work. This is sad indeed, I enjoyed his work very much and we had some great conversations. Dominic Angerame On Tue, May 26, 2015 at 3:47 AM, Chuck Kleinhans chuck...@northwestern.edu wrote: On May 26, 2015, at 1:24 AM, Steve Polta steve.po...@gmail.com wrote: Yes Noren was indeed considered an expert on 20th Century news footage and certainly knew his way around an archive. There is also a story however of him dropping by Anthology Film Archives, sometime well into the 21st century I think, to inspect his films—which were permanently archived there—and, when the archivist was out of the room, physically removing specific shots with scissors and pocketing this material. Noren's early films (mid-'60s–mid-'70s, roughly)—the making of which were the direct inspiration for the film *David Holzman's Diary*—were attempts to document every aspect of the filmmaker's life, which, in his case, meant that they documented Noren's quite active sex life. I don't know the reason—his own privacy or his partners' perhaps?—but it was these scenes that Noren reportedly liberated. Good story and yes I believe it's true... Steve Polta Interesting story: tape or cement splices? I do remember one woman filmmaker active in that era describing Noren's early autobiographical films as “a long list of all the women that he’s fd.” Chuck Kleinhans ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Benjamin Benjamin Léon benj.l...@gmail.com twitter: @ben750 skype : benjil75 (Fr) + 33 (0)6 28 07 18 00 http://ben-newhorizons.tumblr.com/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
Thanks for this, Rise. It’s good to know Kodak was civilized. Maybe this information is in Scott’s interview with Andrew, but if not, it is now a matter of record. Of the many life-works of artists’ cinema that deserve restoration and wide recognition, Andrew’s certainly ranks among the very best. On Jun 12, 2015, at 9:19 AM, Rise Hall-Noren rise.hallno...@gmail.com wrote: Dear Gene, To clarify the record, Eastman Kodak did send Andrew a letter in late 1973 or early 1974, which very politely requested that he change the title of Part I, since Kodak was a protected trademark. I still remember when we received the letter, which is in our files, and there was a small exchange of correspondence in which Andrew promised to immediately make the change and follow up to track down any prints. Of course, when a major US corporation sends a letter that they wish to protect their registered trademark, at the time to a very poor artist, the threat of a lawsuit was implied. Perhaps a year or so later, Kodak's Legal Dept. sent another letter that concerned a bootleg print of Part I, now known to us as Huge Pupils, that travelled through Europe for 4-5 years that he and the London Coop had never been able to track down. At the end of that period, the London Coop somehow managed to get their hands on it, and Andrew requested that they destroy it, as it was in terrible condition. No one ever wants their work exhibited that way. Just for the record, Kodak showed nothing but courtesy and restraint, and they did own the trademark, after all. Rise' Hall-Noren On Thu, Jun 11, 2015 at 5:08 PM, Gene Youngblood ato...@comcast.net mailto:ato...@comcast.net wrote: There’s no particular point to this except the memory of when Kodak threatened to sue Andrew and he changed the name of his work to Adventures of the Exquisite Corpse. Now there’s two corpses and two ghosts, each haunting a different world I guess... On Jun 11, 2015, at 2:03 PM, Alex Lake stagnantp...@gmail.com mailto:stagnantp...@gmail.com wrote: I viewed the three titles at the NYPL just last year and can attest that all the prints are in great shape. Now if there were only viewing copies of Kodak Ghost Poems/Huge Pupils, but it's good to hear there's a print of Wind Variations in Berlin! On Thu, Jun 11, 2015 at 3:33 PM, Jacob waltmanja...@gmail.com mailto:waltmanja...@gmail.com wrote: For what it's worth, I had the chance to view Charmed Particles, The Lighted Field and Imaginary Light at the NYPL in the Summer of 2012. Admittedly, my perception of the condition of the prints may have been swayed by how incredible the films are, but I remember them being in fantastic condition... -- --- JACOB WALTMAN Carolina MacGillavrylaan 2148 1098XK Amsterdam http://making-light-of-it.blogspot.com/ http://making-light-of-it.blogspot.com/ --- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com mailto:FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com mailto:FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com mailto:FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks https://mailman-mail5.webfaction.com/listinfo/frameworks -- Rise' ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
Interestingly I saw the LFMC print of Kodak Ghost Poems as a student at Maidstone college of art in the early 1970s, it was in good condition then. I’ve not forgotten it (obviously). Rob On 12 Jun 2015, at 16:19, Rise Hall-Noren rise.hallno...@gmail.com wrote: Dear Gene, To clarify the record, Eastman Kodak did send Andrew a letter in late 1973 or early 1974, which very politely requested that he change the title of Part I, since Kodak was a protected trademark. I still remember when we received the letter, which is in our files, and there was a small exchange of correspondence in which Andrew promised to immediately make the change and follow up to track down any prints. Of course, when a major US corporation sends a letter that they wish to protect their registered trademark, at the time to a very poor artist, the threat of a lawsuit was implied. Perhaps a year or so later, Kodak's Legal Dept. sent another letter that concerned a bootleg print of Part I, now known to us as Huge Pupils, that travelled through Europe for 4-5 years that he and the London Coop had never been able to track down. At the end of that period, the London Coop somehow managed to get their hands on it, and Andrew requested that they destroy it, as it was in terrible condition. No one ever wants their work exhibited that way. Just for the record, Kodak showed nothing but courtesy and restraint, and they did own the trademark, after all. Rise' Hall-Noren On Thu, Jun 11, 2015 at 5:08 PM, Gene Youngblood ato...@comcast.net wrote: There’s no particular point to this except the memory of when Kodak threatened to sue Andrew and he changed the name of his work to Adventures of the Exquisite Corpse. Now there’s two corpses and two ghosts, each haunting a different world I guess... On Jun 11, 2015, at 2:03 PM, Alex Lake stagnantp...@gmail.com wrote: I viewed the three titles at the NYPL just last year and can attest that all the prints are in great shape. Now if there were only viewing copies of Kodak Ghost Poems/Huge Pupils, but it's good to hear there's a print of Wind Variations in Berlin! On Thu, Jun 11, 2015 at 3:33 PM, Jacob waltmanja...@gmail.com wrote: For what it's worth, I had the chance to view Charmed Particles, The Lighted Field and Imaginary Light at the NYPL in the Summer of 2012. Admittedly, my perception of the condition of the prints may have been swayed by how incredible the films are, but I remember them being in fantastic condition... -- --- JACOB WALTMAN Carolina MacGillavrylaan 2148 1098XK Amsterdam http://making-light-of-it.blogspot.com/ --- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Rise' ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
Dear Gene, To clarify the record, Eastman Kodak did send Andrew a letter in late 1973 or early 1974, which very politely requested that he change the title of Part I, since Kodak was a protected trademark. I still remember when we received the letter, which is in our files, and there was a small exchange of correspondence in which Andrew promised to immediately make the change and follow up to track down any prints. Of course, when a major US corporation sends a letter that they wish to protect their registered trademark, at the time to a very poor artist, the threat of a lawsuit was implied. Perhaps a year or so later, Kodak's Legal Dept. sent another letter that concerned a bootleg print of Part I, now known to us as Huge Pupils, that travelled through Europe for 4-5 years that he and the London Coop had never been able to track down. At the end of that period, the London Coop somehow managed to get their hands on it, and Andrew requested that they destroy it, as it was in terrible condition. No one ever wants their work exhibited that way. Just for the record, Kodak showed nothing but courtesy and restraint, and they did own the trademark, after all. Rise' Hall-Noren On Thu, Jun 11, 2015 at 5:08 PM, Gene Youngblood ato...@comcast.net wrote: There’s no particular point to this except the memory of when Kodak threatened to sue Andrew and he changed the name of his work to Adventures of the Exquisite Corpse. Now there’s two corpses and two ghosts, each haunting a different world I guess... On Jun 11, 2015, at 2:03 PM, Alex Lake stagnantp...@gmail.com wrote: I viewed the three titles at the NYPL just last year and can attest that all the prints are in great shape. Now if there were only viewing copies of Kodak Ghost Poems/Huge Pupils, but it's good to hear there's a print of Wind Variations in Berlin! On Thu, Jun 11, 2015 at 3:33 PM, Jacob waltmanja...@gmail.com wrote: For what it's worth, I had the chance to view *Charmed Particles, The Lighted Field *and *Imaginary Light *at the NYPL in the Summer of 2012. Admittedly, my perception of the condition of the prints may have been swayed by how incredible the films are, but I remember them being in fantastic condition... -- --- JACOB WALTMAN Carolina MacGillavrylaan 2148 1098XK Amsterdam http://making-light-of-it.blogspot.com/ --- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Rise' ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
I have an appointment to view CHARMED PARTICLES at the NYPL in a little over a week and will gladly report here on the condition of the print upon doing so. I would add more but my screening list is already reaching upwards of 5 hours! Michael On Jun 11, 2015, at 9:37 AM, Rise Hall-Noren rise.hallno...@gmail.com wrote: Dear Marcel, Thank you so much for informing me about the copy of THE WIND VARIATIONS at the Arsenal. I am very happy to know you have a copy there. Andrew had mentioned Barry's film a couple of times over the years, but I never had a chance to see it. Barry now works out of Hudson, New York and seems to be doing well and is quite active. Andrew was one of a kind, and I will miss him greatly until my last day. Kind regards, Rise' On Thu, Jun 11, 2015 at 7:36 AM, Marcel Schwierin mar...@schwierin.de wrote: Dear Rise, there is a 16mm copy of THE WIND VARIATIONS at the Arsenal in Berlin http://films.arsenal-berlin.de/index.php/Detail/Object/Show/object_id/2362/lang/en_US and this mirght be of interest, too: GENERATIONS - 2. PORTRAIT OF ANDREW NOREN by Barry Gerson http://films.arsenal-berlin.de/index.php/Detail/Object/Show/object_id/863 Best, Marcel Leiter / Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edith-Russ-Haus für Medienkunst . Edith-Russ-Haus for Media Art Katharinenstrasse 23 . 26121 Oldenburg . Germany fon +49 441 235-2568 . fax +49 441 235-2161 www.edith-russ-haus.de . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . actual: Repairing the City NEVIN ALADAG / LEOPOLD KESSLER 7 May - 16 Aug 2015 upcoming: Earth HO TZU NYEN @ Pulverturm 5 Jun - 5 Jul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allgemeine Anfragen an die Stadt Oldenburg: servicecen...@stadt-oldenburg.de Infos Bürgerservice unter: www.oldenburg.de Am Mo 08.06.15 um 22:29 schrieb Rise Hall-Noren rise.hallno...@gmail.com: Dear Scott, Today I tried to see what the story is at Donnell. Sadly, the collection was broken up between a midtown lending branch and the Performing Arts Library, when the real estate was sold as part of MOMA's expansion, it seems. This was news to me; one never imagines that could happen to a place like the Donnell Library. The good new is that Donnell had purchased three prints from Andrew in 2004: Charmed Particles, The Lighted Field, and Imaginary Light. They can be screened by appointment at Performing Arts. I would expect that the prints are in excellent condition. Hope your summer vacation has begun! Rise' On Thu, Jun 4, 2015 at 8:24 AM, Scott MacDonald smacd...@hamilton.edu wrote: Dear FRAMEWORKERS, I've been trying to find out what I can about Andrew Noren's films/videos. His widow, Rise' Hall-Noren, is sorting through their archives to see what's what. So far as I know at the moment, only two films are available, both as 16mm prints from the MoMA Circulating Film Library: Charmed Particles (1987) and The Lighted Field (1967). What shape these prints are in remains to be seen. More news (or at least some news!), once I have it. Scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Rise' ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Rise' ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
For what it's worth, I had the chance to view *Charmed Particles, The Lighted Field *and *Imaginary Light *at the NYPL in the Summer of 2012. Admittedly, my perception of the condition of the prints may have been swayed by how incredible the films are, but I remember them being in fantastic condition... -- --- JACOB WALTMAN Carolina MacGillavrylaan 2148 1098XK Amsterdam http://making-light-of-it.blogspot.com/ --- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
I viewed the three titles at the NYPL just last year and can attest that all the prints are in great shape. Now if there were only viewing copies of Kodak Ghost Poems/Huge Pupils, but it's good to hear there's a print of Wind Variations in Berlin! On Thu, Jun 11, 2015 at 3:33 PM, Jacob waltmanja...@gmail.com wrote: For what it's worth, I had the chance to view *Charmed Particles, The Lighted Field *and *Imaginary Light *at the NYPL in the Summer of 2012. Admittedly, my perception of the condition of the prints may have been swayed by how incredible the films are, but I remember them being in fantastic condition... -- --- JACOB WALTMAN Carolina MacGillavrylaan 2148 1098XK Amsterdam http://making-light-of-it.blogspot.com/ --- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
Dear Marcel, Thank you so much for informing me about the copy of THE WIND VARIATIONS at the Arsenal. I am very happy to know you have a copy there. Andrew had mentioned Barry's film a couple of times over the years, but I never had a chance to see it. Barry now works out of Hudson, New York and seems to be doing well and is quite active. Andrew was one of a kind, and I will miss him greatly until my last day. Kind regards, Rise' On Thu, Jun 11, 2015 at 7:36 AM, Marcel Schwierin mar...@schwierin.de wrote: Dear Rise, there is a 16mm copy of THE WIND VARIATIONS at the Arsenal in Berlin http://films.arsenal-berlin.de/index.php/Detail/Object/Show/object_id/2362/lang/en_US and this mirght be of interest, too: GENERATIONS - 2. PORTRAIT OF ANDREW NOREN by Barry Gerson http://films.arsenal-berlin.de/index.php/Detail/Object/Show/object_id/863 Best, Marcel Leiter / Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edith-Russ-Haus für Medienkunst . Edith-Russ-Haus for Media Art Katharinenstrasse 23 . 26121 Oldenburg . Germany fon +49 441 235-2568 . fax +49 441 235-2161 www.edith-russ-haus.de . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . actual: Repairing the City NEVIN ALADAG / LEOPOLD KESSLER 7 May - 16 Aug 2015 upcoming: Earth HO TZU NYEN @ Pulverturm 5 Jun - 5 Jul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allgemeine Anfragen an die Stadt Oldenburg: servicecen...@stadt-oldenburg.de Infos Bürgerservice unter: www.oldenburg.de Am Mo 08.06.15 um 22:29 schrieb Rise Hall-Noren rise.hallno...@gmail.com : Dear Scott, Today I tried to see what the story is at Donnell. Sadly, the collection was broken up between a midtown lending branch and the Performing Arts Library, when the real estate was sold as part of MOMA's expansion, it seems. This was news to me; one never imagines that could happen to a place like the Donnell Library. The good new is that Donnell had purchased three prints from Andrew in 2004: Charmed Particles, The Lighted Field, and Imaginary Light. They can be screened by appointment at Performing Arts. I would expect that the prints are in excellent condition. Hope your summer vacation has begun! Rise' On Thu, Jun 4, 2015 at 8:24 AM, Scott MacDonald smacd...@hamilton.edu wrote: Dear FRAMEWORKERS, I've been trying to find out what I can about Andrew Noren's films/videos. His widow, Rise' Hall-Noren, is sorting through their archives to see what's what. So far as I know at the moment, only two films are available, both as 16mm prints from the MoMA Circulating Film Library: Charmed Particles (1987) and The Lighted Field (1967). What shape these prints are in remains to be seen. More news (or at least some news!), once I have it. Scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Rise' ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Rise' ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
There’s no particular point to this except the memory of when Kodak threatened to sue Andrew and he changed the name of his work to Adventures of the Exquisite Corpse. Now there’s two corpses and two ghosts, each haunting a different world I guess... On Jun 11, 2015, at 2:03 PM, Alex Lake stagnantp...@gmail.com wrote: I viewed the three titles at the NYPL just last year and can attest that all the prints are in great shape. Now if there were only viewing copies of Kodak Ghost Poems/Huge Pupils, but it's good to hear there's a print of Wind Variations in Berlin! On Thu, Jun 11, 2015 at 3:33 PM, Jacob waltmanja...@gmail.com mailto:waltmanja...@gmail.com wrote: For what it's worth, I had the chance to view Charmed Particles, The Lighted Field and Imaginary Light at the NYPL in the Summer of 2012. Admittedly, my perception of the condition of the prints may have been swayed by how incredible the films are, but I remember them being in fantastic condition... -- --- JACOB WALTMAN Carolina MacGillavrylaan 2148 1098XK Amsterdam http://making-light-of-it.blogspot.com/ http://making-light-of-it.blogspot.com/ --- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com mailto:FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
Dear Scott, Today I tried to see what the story is at Donnell. Sadly, the collection was broken up between a midtown lending branch and the Performing Arts Library, when the real estate was sold as part of MOMA's expansion, it seems. This was news to me; one never imagines that could happen to a place like the Donnell Library. The good new is that Donnell had purchased three prints from Andrew in 2004: Charmed Particles, The Lighted Field, and Imaginary Light. They can be screened by appointment at Performing Arts. I would expect that the prints are in excellent condition. Hope your summer vacation has begun! Rise' On Thu, Jun 4, 2015 at 8:24 AM, Scott MacDonald smacd...@hamilton.edu wrote: *Dear FRAMEWORKERS,* *I've been trying to find out what I can about Andrew Noren's films/videos. His widow, Rise' Hall-Noren, is sorting through their archives to see what's what.* *So far as I know at the moment, only two films are available, both as 16mm prints from the MoMA Circulating Film Library: Charmed Particles (1987) and The Lighted Field (1967). What shape these prints are in remains to be seen.* *More news (or at least some news!), once I have it.* *Scott* ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Rise' ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Andrew Noren
*Dear FRAMEWORKERS,* *I've been trying to find out what I can about Andrew Noren's films/videos. His widow, Rise' Hall-Noren, is sorting through their archives to see what's what.* *So far as I know at the moment, only two films are available, both as 16mm prints from the MoMA Circulating Film Library: Charmed Particles (1987) and The Lighted Field (1967). What shape these prints are in remains to be seen.* *More news (or at least some news!), once I have it.* *Scott* ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
Yes Noren was indeed considered an expert on 20th Century news footage and certainly knew his way around an archive. There is also a story however of him dropping by Anthology Film Archives, sometime well into the 21st century I think, to inspect his films—which were permanently archived there—and, when the archivist was out of the room, physically removing specific shots with scissors and pocketing this material. Noren's early films (mid-'60s–mid-'70s, roughly)—the making of which were the direct inspiration for the film *David Holzman's Diary*—were attempts to document every aspect of the filmmaker's life, which, in his case, meant that they documented Noren's quite active sex life. I don't know the reason—his own privacy or his partners' perhaps?—but it was these scenes that Noren reportedly liberated. Good story and yes I believe it's true... Steve Polta On Mon, May 25, 2015 at 12:18 PM, direc...@lift.on.ca wrote: The fact that Noren was an archivist by trade gives hope to the fact that his elements are probably thoughtfully stored somewhere (at least the ones that weren't destroyed in an early fire, if I remember correctly) and would be eventually available for preservation. C When I first walked into the Sherman Grinberg Film Library in the old Film Center Building at 630 9th Avenue in the fall of 1983, I was quite surprised when I was introduced to Andrew Noren, one of the librarians in that strange place. I couldn't quite put together my emerging life as a business-focused archival film researcher with my past watching ag/experimental films under semi-utopian conditions in California, but Andrew confirmed that he was indeed the filmmaker whose work had left such a strong impression before going into the vaults to pick out a few cans of nitrate neg for me to put on the Moviola flatbed. I recall that he pulled the Paramount newsreel neg for me showing Fiorello LaGuardia reading the comics over the radio during the 1945 newspaper strike. In retrospect I can see how working with nitrate in his day job may have influenced his sensibility. Rick Rick Prelinger / @footage Prelinger Archives, San Franciscohttp://www.prelinger.com foot...@panix.com Associate Professor, Film Digital Media, UC Santa Cruz r...@ucsc.edu Prelinger Library (http://www.prelingerlibrary.org), a member of the Intersection Incubator, a program of Intersection for the Arts providing fiscal sponsorship, incubation and consulting to artists (http://www.theintersection.org). ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
On May 26, 2015, at 1:24 AM, Steve Polta steve.po...@gmail.commailto:steve.po...@gmail.com wrote: Yes Noren was indeed considered an expert on 20th Century news footage and certainly knew his way around an archive. There is also a story however of him dropping by Anthology Film Archives, sometime well into the 21st century I think, to inspect his films—which were permanently archived there—and, when the archivist was out of the room, physically removing specific shots with scissors and pocketing this material. Noren's early films (mid-'60s–mid-'70s, roughly)—the making of which were the direct inspiration for the film David Holzman's Diary—were attempts to document every aspect of the filmmaker's life, which, in his case, meant that they documented Noren's quite active sex life. I don't know the reason—his own privacy or his partners' perhaps?—but it was these scenes that Noren reportedly liberated. Good story and yes I believe it's true... Steve Polta Interesting story: tape or cement splices? I do remember one woman filmmaker active in that era describing Noren's early autobiographical films as “a long list of all the women that he’s fd.” Chuck Kleinhans ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Andrew Noren
*Frameworkers:* *It is with profound sadness that I tell you that filmmaker Andrew Noren died on May 2nd, after a bout with cancer.* *Andrew was a remarkable moving-image artist. His series of films made under the general title Adventures of the Exquisite Corpse (including Huge Pupils, Scenes from Life, False Pretenses, Charmed Particles, The Phantom Enthusiast, The Lighted Field, Imaginary Light) are among the most accomplished films and digital works produced during these past decades. * *One can hope that Andrew's passing will instigate opportunities for screening the remarkable body of work he lived to produce. * *Andrew was the instigation for David Holzman in Jim McBride's canonical David Holzman's Diary (1967)--though he was a far more complex and interesting person than the fictional David Holzman.* *Noren worked as a news archivist for Sherman Grinberg Film Library for many years, then left to form his own company. * *He had recently moved from New Jersey to western North Carolina and was loving the mountains. He is survived by his wife Rise Hall-Noren.RIP, dear Andrew.* *Scott MacDonald * ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
Those of us who were there at the time can recall the excitement when a new film by Andrew was released. We anticipated them almost like we did the next Brakhage or Godard. Scott or Dominic will know better than I when and why Andrew took the films out of distribution, but when I realized I could no longer show these masterpieces to my students I began hounding him to get them restored. At first he said he intended to do that, but it never happened. In some cases, like Huge Pupils, the excuse was the explicit sex. That was really disappointing to hear, given that he was, on that level, in the vanguard of the still-meaningful cinema of transgression. I last saw him more than five years ago when he came to Santa Fe in search of a place to move to. He was suffering from early stages of rheumatoid arthritis, so it is doubly saddening to learn that, on top of that, he finally succumbed to cancer. Andrew was a highly intelligent, discerning and quietly passionate human being. His interview with Scott is one of the most eloquent of them all. I’m sure Mark Toscano would give anything to get his hands on those magisterial works of art. I am forever grateful for their presence in our lives. On May 25, 2015, at 7:10 AM, Chuck Kleinhans chuck...@northwestern.edu wrote: Scott, Thank you for the tribute. Do you know about the availability of his films for screening in any format? I tried several times to screen his films in classes but it seemed they’d been withdrawn. Chuck Kleinhans ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
MoMA :) Date: Mon, 25 May 2015 16:10:20 +0200 From: elenadu...@gmail.com To: frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] Andrew Noren Chuck, I saw Charmed Particles (in 16mm) last year in the CCCB in Barcelona, Spain, but I don't know the procedence of the print. I can ask them, although I am sure that there must be some frameworker out there that knows better where to find it!Best, Elena 2015-05-25 15:57 GMT+02:00 Gene Youngblood ato...@comcast.net: Those of us who were there at the time can recall the excitement when a new film by Andrew was released. We anticipated them almost like we did the next Brakhage or Godard. Scott or Dominic will know better than I when and why Andrew took the films out of distribution, but when I realized I could no longer show these masterpieces to my students I began hounding him to get them restored. At first he said he intended to do that, but it never happened. In some cases, like Huge Pupils, the excuse was the explicit sex. That was really disappointing to hear, given that he was, on that level, in the vanguard of the still-meaningful cinema of transgression. I last saw him more than five years ago when he came to Santa Fe in search of a place to move to. He was suffering from early stages of rheumatoid arthritis, so it is doubly saddening to learn that, on top of that, he finally succumbed to cancer. Andrew was a highly intelligent, discerning and quietly passionate human being. His interview with Scott is one of the most eloquent of them all. I’m sure Mark Toscano would give anything to get his hands on those magisterial works of art. I am forever grateful for their presence in our lives. On May 25, 2015, at 7:10 AM, Chuck Kleinhans chuck...@northwestern.edu wrote: Scott, Thank you for the tribute. Do you know about the availability of his films for screening in any format? I tried several times to screen his films in classes but it seemed they’d been withdrawn. Chuck Kleinhans ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Elena Duque Viña Telf: (+34) 605431072 elenadu...@gmail.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
Yes. Noren was an amazing filmmaker with an incredible body of work that threw done some serious aesthetic challenges and expressed, in purely visual terms, a very complex aesthetics-based philosophy that to me is incredibly deep and profound and still shakes me up to think about. I posted the following to facebook and paste it here too... Today I learned that the great filmmaker Andrew Noren died a few weeks ago from cancer, age 72 (I think). For those who don't know, Noren's films were among the most visually intense and overwhelming films ever created. Noren was a master 16mm photographer, a master of capturing motion and a master of 16mm black white (I never had the opportunity to see his color films but I'm told they were amazing as well). Noren's films tended to be long-form (30+ minutes) and were (the ones I've seen) relentless barrages of imagery—very fast cutting, incredible single-framing and time lapse—that only would pause for the briefest of moments. Generally (the films I've seen) shot in cities during the course of daily life, the films emphasize the passing of time and—in their speed and Noren's uncanny way of rendering solid forms as fragile and ephemeral—seem to be constantly concerned with not only passing time but the brevity of life. By the time I came to film, Noren—a contemporary and filmmaker-in-dialog-with Brakhage, Dorsky, Gehr and all those guys—had largely withdrawn his films from distribution and had done the (probably deliberate, although I don't know) slow fade into relative obscurity. Each rare screening of Noren's aggressive (if overwhelming) films was an occasion for ones personal sense of visuality (as well as filmmaking and film history) to be altered permanently, and for the better, in that these films feel like wake-up call jolts to the senses and made you feel exhileratingly alive (albeit in intense ways—given that they stressed—to me—the brevity of life and the non-reality of the physical world, they also really shook me up in ways that few other films have). His earlier films (which I've not seen) were attempts to document all aspects of his life on film and were—this is documented—the direct inspiration for DAVID HOLZMAN'S DIARY. It's really too bad that his films didn't screen more often but in later years Noren—a classic, intensely opinionated curmudgeonly filmmaker—did not make it easy. I was really glad to have seen him in person (and meet him briefly) at Pacific Film Archive in 2005 and to have screened IMAGINARY LIGHT, via San Francisco Cinematheque https://www.facebook.com/sanfranciscocinematheque, at SFMOMA in 2012... On Mon, May 25, 2015 at 9:42 AM, direc...@lift.on.ca wrote: I can understand that. There was a moment in the early 2000s when Susan Oxtoby brought some of his films (and him) to Toronto over the course of a few years. I likely saw about 4 or 5 of his films over that period and still think of them often. A quick description --- rich high-contrast imagery, long point-of-view shots down pathways and evocative time lapses of domestic spaces -- doesn't do them justice; there was something especially stunning about the experience. Chris Those of us who were there at the time can recall the excitement when a new film by Andrew was released. We anticipated them almost like we did the next Brakhage or Godard. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
I don't at the moment, Chuck, but will be looking into this.Scott Original Message Subject: Re: [Frameworks] Andrew Noren From: Chuck Kleinhans chuck...@northwestern.edu Date: Mon, May 25, 2015 6:10 am To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Scott, Thank you for the tribute. Do you know about the availability of his films for screening in any format? I tried several times to screen his films in classes but it seemed they’d been withdrawn. Chuck Kleinhans ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
Chuck, I saw Charmed Particles (in 16mm) last year in the CCCB in Barcelona, Spain, but I don't know the procedence of the print. I can ask them, although I am sure that there must be some frameworker out there that knows better where to find it! Best, Elena 2015-05-25 15:57 GMT+02:00 Gene Youngblood ato...@comcast.net: Those of us who were there at the time can recall the excitement when a new film by Andrew was released. We anticipated them almost like we did the next Brakhage or Godard. Scott or Dominic will know better than I when and why Andrew took the films out of distribution, but when I realized I could no longer show these masterpieces to my students I began hounding him to get them restored. At first he said he intended to do that, but it never happened. In some cases, like Huge Pupils, the excuse was the explicit sex. That was really disappointing to hear, given that he was, on that level, in the vanguard of the still-meaningful cinema of transgression. I last saw him more than five years ago when he came to Santa Fe in search of a place to move to. He was suffering from early stages of rheumatoid arthritis, so it is doubly saddening to learn that, on top of that, he finally succumbed to cancer. Andrew was a highly intelligent, discerning and quietly passionate human being. His interview with Scott is one of the most eloquent of them all. I’m sure Mark Toscano would give anything to get his hands on those magisterial works of art. I am forever grateful for their presence in our lives. On May 25, 2015, at 7:10 AM, Chuck Kleinhans chuck...@northwestern.edu wrote: Scott, Thank you for the tribute. Do you know about the availability of his films for screening in any format? I tried several times to screen his films in classes but it seemed they’d been withdrawn. Chuck Kleinhans ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Elena Duque Viña Telf: (+34) 605431072 elenadu...@gmail.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
I can understand that. There was a moment in the early 2000s when Susan Oxtoby brought some of his films (and him) to Toronto over the course of a few years. I likely saw about 4 or 5 of his films over that period and still think of them often. A quick description --- rich high-contrast imagery, long point-of-view shots down pathways and evocative time lapses of domestic spaces -- doesn't do them justice; there was something especially stunning about the experience. Chris Those of us who were there at the time can recall the excitement when a new film by Andrew was released. We anticipated them almost like we did the next Brakhage or Godard. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
The concluding -- and personal favorite -- passage from that Andrew Noren / Scott MacDonald interview (in Critical Cinema 2) that Mr. Youngblood referred to earlier: “The absolute best thing I’ve seen recently and certainly the most avant-garde was a lightning storm over southern New Jersey. It was so spectacular and sophisticated and surely one of the all-time great movies. It was incredibly powerful and intricate and intelligent and terrifying. It blasted us awake at two a.m. and we watched it through the black frame of the back door: vivid, intense, electric presentation of every last single detail of each bush, tree, leaf-of-grass. Vibrating out of absolute blackness in blinding, blue-white light, figure and ground switching places several times a second. Violent dimensional collisions, macroscopic magnification of the smallest things. Then everything vanishing into blackness so intense that the after-images were almost as strong as the original. And sound! Earth-shattering contrapuntal booms and blasts of such power I was sure the house would be blown away. I wish I could begin to describe it. It was wonderful, and as avant-garde is it gets. We were enchanted.” Carl Milwaukee From: FrameWorks frameworks-boun...@jonasmekasfilms.com on behalf of Steve Polta steve.po...@gmail.com Sent: Monday, May 25, 2015 12:16 PM To: Experimental Film Discussion List Subject: Re: [Frameworks] Andrew Noren Yes. Noren was an amazing filmmaker with an incredible body of work that threw done some serious aesthetic challenges and expressed, in purely visual terms, a very complex aesthetics-based philosophy that to me is incredibly deep and profound and still shakes me up to think about. I posted the following to facebook and paste it here too... Today I learned that the great filmmaker Andrew Noren died a few weeks ago from cancer, age 72 (I think). For those who don't know, Noren's films were among the most visually intense and overwhelming films ever created. Noren was a master 16mm photographer, a master of capturing motion and a master of 16mm black white (I never had the opportunity to see his color films but I'm told they were amazing as well). Noren's films tended to be long-form (30+ minutes) and were (the ones I've seen) relentless barrages of imagery—very fast cutting, incredible single-framing and time lapse—that only would pause for the briefest of moments. Generally (the films I've seen) shot in cities during the course of daily life, the films emphasize the passing of time and—in their speed and Noren's uncanny way of rendering solid forms as fragile and ephemeral—seem to be constantly concerned with not only passing time but the brevity of life. By the time I came to film, Noren—a contemporary and filmmaker-in-dialog-with Brakhage, Dorsky, Gehr and all those guys—had largely withdrawn his films from distribution and had done the (probably deliberate, although I don't know) slow fade into relative obscurity. Each rare screening of Noren's aggressive (if overwhelming) films was an occasion for ones personal sense of visuality (as well as filmmaking and film history) to be altered permanently, and for the better, in that these films feel like wake-up call jolts to the senses and made you feel exhileratingly alive (albeit in intense ways—given that they stressed—to me—the brevity of life and the non-reality of the physical world, they also really shook me up in ways that few other films have). His earlier films (which I've not seen) were attempts to document all aspects of his life on film and were—this is documented—the direct inspiration for DAVID HOLZMAN'S DIARY. It's really too bad that his films didn't screen more often but in later years Noren—a classic, intensely opinionated curmudgeonly filmmaker—did not make it easy. I was really glad to have seen him in person (and meet him briefly) at Pacific Film Archive in 2005 and to have screened IMAGINARY LIGHT, via San Francisco Cinemathequehttps://www.facebook.com/sanfranciscocinematheque, at SFMOMA in 2012... On Mon, May 25, 2015 at 9:42 AM, direc...@lift.on.camailto:direc...@lift.on.ca wrote: I can understand that. There was a moment in the early 2000s when Susan Oxtoby brought some of his films (and him) to Toronto over the course of a few years. I likely saw about 4 or 5 of his films over that period and still think of them often. A quick description --- rich high-contrast imagery, long point-of-view shots down pathways and evocative time lapses of domestic spaces -- doesn't do them justice; there was something especially stunning about the experience. Chris Those of us who were there at the time can recall the excitement when a new film by Andrew was released. We anticipated them almost like we did the next Brakhage or Godard. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.commailto:FrameWorks
Re: [Frameworks] Andrew Noren
When I first walked into the Sherman Grinberg Film Library in the old Film Center Building at 630 9th Avenue in the fall of 1983, I was quite surprised when I was introduced to Andrew Noren, one of the librarians in that strange place. I couldn't quite put together my emerging life as a business-focused archival film researcher with my past watching ag/experimental films under semi-utopian conditions in California, but Andrew confirmed that he was indeed the filmmaker whose work had left such a strong impression before going into the vaults to pick out a few cans of nitrate neg for me to put on the Moviola flatbed. I recall that he pulled the Paramount newsreel neg for me showing Fiorello LaGuardia reading the comics over the radio during the 1945 newspaper strike. In retrospect I can see how working with nitrate in his day job may have influenced his sensibility. Rick Rick Prelinger / @footage Prelinger Archives, San Franciscohttp://www.prelinger.com foot...@panix.com Associate Professor, Film Digital Media, UC Santa Cruz r...@ucsc.edu Prelinger Library (http://www.prelingerlibrary.org), a member of the Intersection Incubator, a program of Intersection for the Arts providing fiscal sponsorship, incubation and consulting to artists (http://www.theintersection.org). ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
This is a lot like what his films seem to aspired to be, and clearly demonstrates Noren's sensitivity to these things. P. Adams Sitney has described that Scott MacDonald interview with Noren (which was conducted through mail I believe and subject to intense scrutiny and amendment by Noren) as basically Noren's manifesto and seemed astonished that, as a writer, Scott MacDonald would turn this over so completely to Noren. To me that piece is indeed a very provocative piece and, however it went down, it's really great that Scott was able to get all that into print... On Mon, May 25, 2015 at 11:02 AM, Carl E Bogner crlel...@uwm.edu wrote: The concluding -- and personal favorite -- passage from that Andrew Noren / Scott MacDonald interview (in Critical Cinema 2) that Mr. Youngblood referred to earlier: “The absolute best thing I’ve seen recently and certainly the most avant-garde was a lightning storm over southern New Jersey. It was so spectacular and sophisticated and surely one of the all-time great movies. It was incredibly powerful and intricate and intelligent and terrifying. It blasted us awake at two a.m. and we watched it through the black frame of the back door: vivid, intense, electric presentation of every last single detail of each bush, tree, leaf-of-grass. Vibrating out of absolute blackness in blinding, blue-white light, figure and ground switching places several times a second. Violent dimensional collisions, macroscopic magnification of the smallest things. Then everything vanishing into blackness so intense that the after-images were almost as strong as the original. And sound! Earth-shattering contrapuntal booms and blasts of such power I was sure the house would be blown away. I wish I could begin to describe it. It was wonderful, and as avant-garde is it gets. We were enchanted.” Carl Milwaukee -- *From:* FrameWorks frameworks-boun...@jonasmekasfilms.com on behalf of Steve Polta steve.po...@gmail.com *Sent:* Monday, May 25, 2015 12:16 PM *To:* Experimental Film Discussion List *Subject:* Re: [Frameworks] Andrew Noren Yes. Noren was an amazing filmmaker with an incredible body of work that threw done some serious aesthetic challenges and expressed, in purely visual terms, a very complex aesthetics-based philosophy that to me is incredibly deep and profound and still shakes me up to think about. I posted the following to facebook and paste it here too... Today I learned that the great filmmaker Andrew Noren died a few weeks ago from cancer, age 72 (I think). For those who don't know, Noren's films were among the most visually intense and overwhelming films ever created. Noren was a master 16mm photographer, a master of capturing motion and a master of 16mm black white (I never had the opportunity to see his color films but I'm told they were amazing as well). Noren's films tended to be long-form (30+ minutes) and were (the ones I've seen) relentless barrages of imagery—very fast cutting, incredible single-framing and time lapse—that only would pause for the briefest of moments. Generally (the films I've seen) shot in cities during the course of daily life, the films emphasize the passing of time and—in their speed and Noren's uncanny way of rendering solid forms as fragile and ephemeral—seem to be constantly concerned with not only passing time but the brevity of life. By the time I came to film, Noren—a contemporary and filmmaker-in-dialog-with Brakhage, Dorsky, Gehr and all those guys—had largely withdrawn his films from distribution and had done the (probably deliberate, although I don't know) slow fade into relative obscurity. Each rare screening of Noren's aggressive (if overwhelming) films was an occasion for ones personal sense of visuality (as well as filmmaking and film history) to be altered permanently, and for the better, in that these films feel like wake-up call jolts to the senses and made you feel exhileratingly alive (albeit in intense ways—given that they stressed—to me—the brevity of life and the non-reality of the physical world, they also really shook me up in ways that few other films have). His earlier films (which I've not seen) were attempts to document all aspects of his life on film and were—this is documented—the direct inspiration for DAVID HOLZMAN'S DIARY. It's really too bad that his films didn't screen more often but in later years Noren—a classic, intensely opinionated curmudgeonly filmmaker—did not make it easy. I was really glad to have seen him in person (and meet him briefly) at Pacific Film Archive in 2005 and to have screened IMAGINARY LIGHT, via San Francisco Cinematheque https://www.facebook.com/sanfranciscocinematheque, at SFMOMA in 2012... On Mon, May 25, 2015 at 9:42 AM, direc...@lift.on.ca wrote: I can understand that. There was a moment in the early 2000s when Susan Oxtoby brought some of his films (and him) to Toronto over
Re: [Frameworks] Andrew Noren
Two years ago I was able to watch a copy of his film Charmed Particles at the New York Public Library (image attached).Researching their catalogue it seems they own three parts of The Adventures of The Exquisite Corps on 16 mm copies:Charmed Particles, Imaginary Light and The Lighted Field.https://nypl.bibliocommons.com/search?t=smartq=andrew%20norencommit=SearchsearchOpt=catalogue Besides Scott MacDonalds' marvellous interview (thank you Carl for adding that passage) there's a link on the Making Light Of It website with some precious documents about his films:http://making-light-of-it.blogspot.com.es/2012/04/andrew-noren.html Alberthttp://www.visionaryfilm.net/ El Lunes 25 de Mayo de 2015 21:18, direc...@lift.on.ca direc...@lift.on.ca escribió: The fact that Noren was an archivist by trade gives hope to the fact that his elements are probably thoughtfully stored somewhere (at least the ones that weren't destroyed in an early fire, if I remember correctly) and would be eventually available for preservation. C When I first walked into the Sherman Grinberg Film Library in the old Film Center Building at 630 9th Avenue in the fall of 1983, I was quite surprised when I was introduced to Andrew Noren, one of the librarians in that strange place. I couldn't quite put together my emerging life as a business-focused archival film researcher with my past watching ag/experimental films under semi-utopian conditions in California, but Andrew confirmed that he was indeed the filmmaker whose work had left such a strong impression before going into the vaults to pick out a few cans of nitrate neg for me to put on the Moviola flatbed. I recall that he pulled the Paramount newsreel neg for me showing Fiorello LaGuardia reading the comics over the radio during the 1945 newspaper strike. In retrospect I can see how working with nitrate in his day job may have influenced his sensibility. Rick Rick Prelinger / @footage Prelinger Archives, San Francisco http://www.prelinger.com foot...@panix.com Associate Professor, Film Digital Media, UC Santa Cruz r...@ucsc.edu Prelinger Library (http://www.prelingerlibrary.org), a member of the Intersection Incubator, a program of Intersection for the Arts providing fiscal sponsorship, incubation and consulting to artists (http://www.theintersection.org). ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Andrew Noren
The fact that Noren was an archivist by trade gives hope to the fact that his elements are probably thoughtfully stored somewhere (at least the ones that weren't destroyed in an early fire, if I remember correctly) and would be eventually available for preservation. C When I first walked into the Sherman Grinberg Film Library in the old Film Center Building at 630 9th Avenue in the fall of 1983, I was quite surprised when I was introduced to Andrew Noren, one of the librarians in that strange place. I couldn't quite put together my emerging life as a business-focused archival film researcher with my past watching ag/experimental films under semi-utopian conditions in California, but Andrew confirmed that he was indeed the filmmaker whose work had left such a strong impression before going into the vaults to pick out a few cans of nitrate neg for me to put on the Moviola flatbed. I recall that he pulled the Paramount newsreel neg for me showing Fiorello LaGuardia reading the comics over the radio during the 1945 newspaper strike. In retrospect I can see how working with nitrate in his day job may have influenced his sensibility. Rick Rick Prelinger / @footage Prelinger Archives, San Franciscohttp://www.prelinger.com foot...@panix.com Associate Professor, Film Digital Media, UC Santa Cruz r...@ucsc.edu Prelinger Library (http://www.prelingerlibrary.org), a member of the Intersection Incubator, a program of Intersection for the Arts providing fiscal sponsorship, incubation and consulting to artists (http://www.theintersection.org). ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
