I've been thinking about films that express an impatience with achievement. An
initial form of this would be the kind of filmmaker who spoofs the documentary
form. But let's put experimentation in the hot seat. If we disallow those
cases in which it really is just an artist suffering from
Quoting Kevin Obsatz ke...@videohaiku.com:
My goal isn't a perfectly clean, seamless print, but I'm wondering
if there are any tips I should follow. I heard a rumor once that
Brakhage would include frames of black leader in between shots to
make splices less visible - but that could be
There are a number of filmmakers who have made the splice, and the quality
of the cut, extremely important - Peter Gidal is (arguably) the most
important of these. If you think about it, it is an attribute of shaping
time which can be used - you may want to.
Stan's 'wink' is a wonderfully
Arthur Lipsett’s films are composed almost entirely of “found sound.”
--Bill Wees
From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of
Albert Alcoz
Sent: November 24, 2013 3:56 PM
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] Found Soundtrack Films
Hi,
Max de Haas, Jean Gremillon, Enrico Fulchignoni, and Jean Rouch are
listed with re: the Groupe de Recherche de Musique Concrète esp
'52-'56
cf Section 2.4.4 in http://music.arts.uci.edu/dobrian/CMC2009/OS12.3.Gayou.pdf
Al Matthews - http://fatmilktv.com
Atlanta, GA, US +1 337 214 4688
On Mon,
I think what Albert's asking for are films that utilize a more or less intact
found soundtrack, rather than a collaged soundtrack that includes found sound
segments.
Lipsett, Pat O'Neill, and plenty of other artists have made some exciting use
of collaged found elements, but I'd also love to
Greetings!
Tonight (Mon. 11/25) is the final screening of* Lizzie Borden's WORKING
GIRLS (1986)* at Spectacle (124 S. 3rd St., Brooklyn). The screening starts
at 10 PM and is $5. We have been very excited to present this film a few
times this month, and hope you are able to make it tonight!
SHELLY WINTERS by Luther Price
(from an interview in Big Red Shiny)
*TN* *In your film SHELLY WINTERS, there is no image at all, just white
leader and a soundtrack We hear the voices of both victims and perpetrators
of domestic violence, telling their stories, but there is no image.*
*LP*
Tara's suggestion reminded me of a piece that Andrew Lampert has shown, I
believe called Head/Tail, which is literally a found soundtrack - it's a 35mm
track negative for a porno trailer, projected in Cinemascope so you get an
empty frame with a salacious narration.
mark t
On Nov 25, 2013,
Yes Mark, you are right, I was asking for films that use intact found
soundtracks to produce the entire film, instead of using collaged soundtracks
from different found sources.
They could be labeled as Perfect found soundtracks, just as those Perfect
Films by Ken Jacobs or Hollis Frampton.
...to which Tom Whiteside refers is *Ordinary Matter (Hapax Legomena V)*.
The soundtrack indeed consists of a booming male voice reciting a Chinese
language syllabary and is also double-system sound (i.e. sound on tape;
film is projected at 16/18fps btw). I believe that this soundtrack was
On Nov 25, 2013, at 9:05 AM, Albert Alcoz wrote:
Yes Mark, you are right, I was asking for films that use intact found
soundtracks to produce the entire film, instead of using collaged soundtracks
from different found sources.
Wasn't the soundtrack for Rubin's Christmas in July just having a
It's a pretty obvious example, but (nostalgia) is [among other things] an
auto-critque of Frampton's work in still photography.
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Thanks for the info, Steve. Interesting that it was made rather than found. To
be truly found, must it have previously been lost? (and this is a digression,
as I fully understand the request made in the original post.) My memory of
Ordinary Matter is that the soundtrack plays like a found
I've done this with Super 8 reversal film by cutting out the frames I wanted to
print (a strip of six inches or so) and scanning the strip in my Minolta Dimage
Scan Dual III (intended for 35mm transparencies and 35mm negative strips). As
you suggest, you'd need to have access to telecine
How about Ken Jacobs’ “Urban Peasants” with two tape recorded lessons in
Yiddish on the sound track?
--Bill Wees
From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of
Albert Alcoz
Sent: November 24, 2013 3:56 PM
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks]
Tom Whiteside's description of his own *Home Safe Badminton* actually
reminds me of a very early Luis Recoder piece, the title of which I do
not recall, which paired an un-edited and untreated sound-off found film
on bomb detection (scanning the underside of parked cars with a mirror on a
long
GLOBE is great, imo.
On 11/25/13 7:05 PM, Fred Camper f...@fredcamper.com wrote:
Quoting Albert Alcoz albertalc...@yahoo.es:
Hi,
Institutional
Qualityby George Landow was created from a found
soundtrack, in this case
a tape recorder about an instructional test.
Does anyone know
Yes, that's a good one too. I was going to mention it but couldn't remember the
title.
--Bill Wees
There is this one by Ken Jacobs:
GLOBE (1971, 22 mins, 16mm, color, sound on cassette) (Previously titled:
EXCERPT FROM THE RUSSIAN REVOLUTION) “Flat image (of snowbound suburban housing
I will cite
Ken's anamorphic astonishment
KRYPTON IS DOOMED (2005)
http://www.eai.org/title.htm?id=10759
also see Mary Helena Clark's most amazing
AND THE SUN FLOWERS
http://vimeo.com/42048057
(Here found sound starts at 2:04 approximately.)
DB
On Nov 25, 2013, at 9:27 PM, William Wees,
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