Re: [Frameworks] Anyone else like me out there?
Hey Ian, glad to make your acquaintance, can you tell me some more about your optical printer gadgets? I'm looking for an animation stand solution for Bolex as well, for Alan Berliner type work, got any ideas? Also, what part of the world you in? JV On Sat, Mar 16, 2013 at 4:30 PM, Ian Wood catfishw...@hotmail.com wrote: Hello- Thanks for the post, it was nice to hear your thoughts. I am a film enthusiast as well, and I would also be interested in taking part in a community of likeminded artists. I also make abstract, visual films that my parents don't consider movies. I love Hans Richter, Maya Deren, and Man Ray films, among many others. I have a ton of gear, and I would like to make myself available as a resource for film-related tools, etc. With an engineer friend, I custom build film-related gear such as interval motors, upside-down tri-pods (for correcting 8mm-on-16mm 4-screen effect), external shutters, external scope lens gadgetry, matte box masks, frankenstein optical printer hybrids, etc., etc. If there is something anybody needs, I am sure I can help. I also collect 16mm films, and have amassed a large collection, including about 200 amateur home movies that I would love to archive someday. For a while now, I have been thinking about trying to start a film festival that is devoted to filmmakers who shoot and finish/present their films on celluloid. The Film-Only Film Festival, or something to that effect. There are, of course, already experimental film festivals out there, but I don't think there is anything that is specifically, 100% devoted to the medium of film, as in celluloid. Anyway, I think the idea could take off, and could help to provide a community that is supportive to artists who are committed to film. Maybe this could also help fill the void you are speaking of, and connect likeminded filmmakers together. It could also perhaps help to preserve the dying, medium of film - a worthy cause that I think a lot of people and institutions would be willing to help support. Anyway, if anyone thinks that this is an idea worth pursuing, I am open to collaborating, and building on the idea. Why not?! If we don't have a venue, I guess we'll just have to build one! -Ian Wood Filmmaker On Mar 16, 2013, at 3:54 PM, J Vent jvent.subscripti...@gmail.com wrote: You are not alone- I live in LA and feel the same isolation from time to time, being in the industry town is great for resources but thin on the experimental community experience. That said, we do have the Echo Park Film Center, Cinefamily and others here as centers of some activity. Milwaukee is a great experimental film town, UWM being the source of fresh talent. I'm restoring/putting together a JK 104 recently given to me, I'm all on board if you like to talk Op Printing. JV On Sat, Mar 16, 2013 at 12:32 PM, Doug Chaffin(Douglas Graves) dgtols...@yahoo.com wrote: As an isolated 16mm abstract moviemaker I'm very interested to know if there's anyone else like me around today? Specifically, is there anyone who works on photo-chemical celluloid motion picture film and makes any kind of formal aesthetic work that is either purely cinematic, abstract, or just generally lyrical and poetic, visually speaking? I'm 30 and I spent 3 years and 10,000 dollars making a really ambitious and stylized abstract 16mm movie called PALMS, it's a serious piece of work that I think is worthy of following in the tradition of what I feel are the truly great non-narrative cinematic artists such as Will Hindle, Ed Emshwiller, James Whitney, Pat O'Neill, Jordan Belson, Scott Bartlett, Bruce Baillie, Maya Deren, Slavko Vorkapich, and Dziga Vertov, among others. Are other people out there, particularly people younger than 50 and currently active, who are also passionate and excited by the work of all these great cinematic artists and are committed to working on celluloid? The last 3 years have been a struggle for me to make another movie and to get my 1st one even seen by anyone. and i also just haven't been able to find people who share my love of cinematic technique and will share it in any way, such as emailing or talking to each other about great shots and montages and optical techniques or sound design techniques in the brilliant movies by these artists. That kind of community and sharing is i feel necessary, even if only between a few people, and it's sad when we're so alone in our struggling and hard work. The only current 16mm moviemakers I know that are similar to me in any way are Timoleon Wilkins and Mark Toscano and they are unfortunately inaccessible for various reasons. I can't see their work or stay in touch with them as friends or even associates. Especially nowadays with all these faster, easier, and cheaper ways of communicating around the whole world such as the internet and cell phones, it's amazing how it seems like most people are if
[Frameworks] CALL FOR ENTRIES - 15th EDITION OF PARIS FESTIVAL FOR DIFFERENT AND EXPERIMENTAL CINEMA
Hello Frameworkers!!!This year, the festival ( Paris Festival for Different and experimental cinema) will take place in autumn, from October 15th until the 20th. The call for entries is now open. We aim to carry on what was initiated in the previous years in order to give visibility to a wide spectrum of current experiments in cinema. This year, in parallel to the films in competition, the "focus" program will address more specifically the use of archival images as traces, materials and collective histories of moving images. The next edition of the Festival will focus more attentivelly on our relation to images of the past and what is at stake with processes of transformation and mediations from film to video. Recycling, reusing, hijacking, phagocytizing... here are some of the concepts we will use as prisms through which to rethink our relation to different and experimental films. Since the practice of found footage crytalises many of them, it shall have a peculiar presence in this edition. Secondly, regarding this year focus on the notion of the archival, we will ask whether the concern by conservation matters is not rather an ideological trap and the result of human hoarding and speculation as practiced within predatory imperial societies. Or is it about genuinely saving what is likely to be forgotten within an image market rather preocupied with seduction and rentability? The rapid mutation of spaces where forms of creation and reapropriation of images can be seen forces us to rethink the link that ties together each image to an author. This link has been thought so far on the level of "property". How to negotiate between creators and society an access to new modes of exchanges, cultural contribution and means of subsistance? It is such debate we intent to trigger from the gound of experimental cinema by programming this year Festival edition.http://www.cjcinema.org/?langue=en#http://www.cjcinema.org/pages/catalogue_soumission.phpAngélicaCuevasPortilla74,rueduCardinalLemoine75005ParisFrance+33-6-64240910http://mex-parismental.blogspot.com***-FestivaldesCinémasDifférentsdeParis http://www.cjcinema.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Anyone else like me out there?
Aesthetically, both hands wave wildly in the air. (Castro Street was a major inspiration, especially when I did super 8 with Fuji cameras that allowed rewinding for in-camera compositing) Ahh -- those were the days -- shooting montage shots over previously undeveloped film -- carrying a notebook around listing what was on each cassette in my camera bag, not being able to afford to make safety copies so the originals would deteriorate every time I viewed them. I would describe the process to my musician friends as Imagine if you had to keep feeding money into your sax every few minutes to get it to keep playing. However, my current medium of choice is video, and my montage tools of choice are After FX (in studio), and 4 DVD plays and a V4 mixer when improvising live. Judge for your self at http://www.youtube.com/Tobenfeld If you telecine your movie and put it on You Tube I promise to watch it. At 12:32 PM -0700 3/16/13, Doug Chaffin\(\Douglas Graves\\) wrote: As an isolated 16mm abstract moviemaker I'm very interested to know if there's anyone else like me around today? Specifically, is there anyone who works on photo-chemical celluloid motion picture film and makes any kind of formal aesthetic work that is either purely cinematic, abstract, or just generally lyrical and poetic, visually speaking? I'm 30 and I spent 3 years and 10,000 dollars making a really ambitious and stylized abstract 16mm movie called PALMS, it's a serious piece of work that I think is worthy of following in the tradition of what I feel are the truly great non-narrative cinematic artists such as Will Hindle, Ed Emshwiller, James Whitney, Pat O'Neill, Jordan Belson, Scott Bartlett, Bruce Baillie, Maya Deren, Slavko Vorkapich, and Dziga Vertov, among others. Are other people out there, particularly people younger than 50 and currently active, who are also passionate and excited by the work of all these great cinematic artists and are committed to working on celluloid? The last 3 years have been a struggle for me to make another movie and to get my 1st one even seen by anyone. and i also just haven't been able to find people who share my love of cinematic technique and will share it in any way, such as emailing or talking to each other about great shots and montages and optical techniques or sound design techniques in the brilliant movies by these artists. That kind of community and sharing is i feel necessary, even if only between a few people, and it's sad when we're so alone in our struggling and hard work. The only current 16mm moviemakers I know that are similar to me in any way are Timoleon Wilkins and Mark Toscano and they are unfortunately inaccessible for various reasons. I can't see their work or stay in touch with them as friends or even associates. Especially nowadays with all these faster, easier, and cheaper ways of communicating around the whole world such as the internet and cell phones, it's amazing how it seems like most people are if anything more reluctant and difficult about staying in touch and enjoying community and fellowship. I know that maybe there are some really great cinematic-celluloid artists working today out there who just make their work for themselves and don't really show it and don't desire to know other cinema enthusiasts. In a way I can understand wanting to be like that and maybe nowadays it's the only way to be. I might get like that too but right now I would welcome the interest and association of serious people whom love what I love and, as my mentor the great Bruce Baillie would say, want to be human to each other about it. Doug Graves 4636 Talbot Drive Boulder, CO 80303 702-580-4293 PURE CINEMA CELLULOID http://www.purecinemacelluloid.webstarts.com/http://www.purecinemacelluloid.webstarts.com/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- -- Emile If you can walk, you can surely DANCE My photography can be viewed at http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/ My videos can be viewed at http://www.youtube.com/Tobenfeld ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
