Re: [Frameworks] Books on the History of Avant-Garde film in US
Sorry, replace some mentions of Parts with Volumes - it's all very confusing! On Sat, Jan 31, 2015 at 1:30 PM, John McAndrew jj.mcand...@gmail.com wrote: Hello, I noticed a few Maya Deren books in this excellent compiled list (of which I own around half of the 60 titles, the rest will be seeked out!) and it made me think - were the remaining two volumes of VèVè Clark, Millicent Hodson and Catrina Neiman's three volume biography and collected works 'The Legend Of Maya Deren' (published by Anthology Film Archives) ever released? Part Two of Volume I was published in 1988 and though it mentions the other two forthcoming parts on the dustjacket, I can't seem to find mention of them on websites like Amazon. I did a quick google search and a bookseller's website said Part Two was due to be published in 1997 and the third volume was completed but not yet in production. I also read that VèVè Clark sadly died in 2007. Can anyone offer any more information on these remaining volumes? Did the project collapse along with Film Culture in 1996? Thanks, John ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Books on the History of Avant-Garde film in US
Hello, I noticed a few Maya Deren books in this excellent compiled list (of which I own around half of the 60 titles, the rest will be seeked out!) and it made me think - were the remaining two volumes of VèVè Clark, Millicent Hodson and Catrina Neiman's three volume biography and collected works 'The Legend Of Maya Deren' (published by Anthology Film Archives) ever released? Part Two of Volume I was published in 1988 and though it mentions the other two forthcoming parts on the dustjacket, I can't seem to find mention of them on websites like Amazon. I did a quick google search and a bookseller's website said Part Two was due to be published in 1997 and the third volume was completed but not yet in production. I also read that VèVè Clark sadly died in 2007. Can anyone offer any more information on these remaining volumes? Did the project collapse along with Film Culture in 1996? Thanks, John ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Green and Orange Films
? Lewis Klahr's Green '62 (1996) From: FrameWorks frameworks-boun...@jonasmekasfilms.com on behalf of Benjamin Popp noiseonf...@gmail.com Sent: Saturday, January 31, 2015 2:39 AM To: frameworks@jonasmekasfilms.com Subject: [Frameworks] Green and Orange Films I'm looking for films with a theme of the color Green or Orange. Any ideas? ben ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Books on the History of Avant-Garde film in US
Not sure if anyone has already mentioned Scott MacDonald: The Garden in the Machine. Nicky. -Original Message- From: Dave Tetzlaff djte...@gmail.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Sat, 31 Jan 2015 6:25 Subject: Re: [Frameworks] Books on the History of Avant-Garde film in US Juan Suarez, Bike Boys, Drag Queens and Superstars, Indiana U Press, 1996 [essential, imho] ___ 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] Green and Orange Films
I'm looking for films with a theme of the color Green or Orange. Any ideas? ben ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Books on the History of Avant-Garde film in US
As straight history: John Hanhardt's A HISTORY OF THE AMERICAN AVANT-GARDE CINEMA (NY: American Federation of Arts, 1976). (Like Anthology, proposes a canon.) Wheeler Dixon, THE EXPLODING EYE: A RE-VISONARY HISTORY OF THE 1960s AMERICAN EXPERIMENTAL CINEMA (Albany, SUNY Press, 1997. Not straight history, but of related interest: Jean Petrolle and Virginia Wexman, WOMEN AND EXPERIMENTAL FILMMAKING (Urbana: U of Illinois Press, 2005 Dixon and Foster, eds. EXPERIMENTAL CINEMA: THE FILM READER (London/NY: Routledge, 2002) Bruce Elder, THE FILMS OF STAN BRAKHAGE IN THE AMERICAN TRADITION OF EZRA POUND, GERTRUDE STEIN, AND CHARLES OLSON (Waterloo, Ontario: Wilfred Laurier UP, 1998). (Breathtaking erudition and gem-like scholarly passion...ditto re. Elder's other big cinema book, HARMONY AND DISSENT.) Annette Michelson, ed. NEW FORMS IN FILM: MONTREUX 1974 Dennis Wheeler, ed. FORM AND STRUCTURE IN RECENT FILM (Vancouver: Vancouver Art Gallery/Talonbooks, 1972. Kerry Brougher/Russell Ferguson, ART AND FILM SINCE 1945: HALL OF MIRRORS (Los Angeles: Museum of Contemporary Art, 1996) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Green and Orange Films
GREEN (1988) Luther Price, Super 8mm, 30mins On Jan 31, 2015, at 1:39 AM, Benjamin Popp noiseonf...@gmail.com wrote: I'm looking for films with a theme of the color Green or Orange. Any ideas? ben ___ 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] Green and Orange Films
Orange by Karen Johnson, 1971 Andy Ditzler On Sat, Jan 31, 2015 at 3:39 AM, Benjamin Popp noiseonf...@gmail.com wrote: I'm looking for films with a theme of the color Green or Orange. Any ideas? ben ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] This Week in (Jan. 31 - Feb. 8, 2015) Avant Garde Cinema
links http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3id=65705a0033e=4e65756555 http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=d6cd8a8eade=4e65756555 ** This week [January 31 - February 8, 2015] in avant garde cinema Enter your event announcements by going to the Flicker Weekly Listing Form (http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=5e64015baee=4e65756555) . To receive the weekly listing via email: Subscribe (http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=cbc6de36c4e=4e65756555) NEW CALLS FOR ENTRIES: Winnipeg Underground Film Festival (Winnipeg, MB, Canada; Deadline: March 31, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=78dab315b3e=4e65756555 artvideoKOELN (Cologne, Germany; Deadline: March 02, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=1df586a756e=4e65756555 ANIMATOR 2015, 8th International Animated Film Festival (Poznan, Poland; Deadline: March 02, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=c4ef8e704ee=4e65756555 DEADLINES APPROACHING: Multidisciplinary residency art call (Tondela,Viseu,Portugal; Deadline: February 15, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=0c271370f2e=4e65756555 Montreal Underground Film Festival (Montreal, QC, Canada; Deadline: February 14, 2015) http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3id=446cf0bb8be=4e65756555 Videoex festival (Zürich; Deadline: January 31, 2015) http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3id=e47ecf3c39e=4e65756555 ACRE TV (Online; Deadline: February 01, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=e0d8e02bc9e=4e65756555 INTERNATIONAL VIDEO ART REVIEW THE 03 (Krakow, Poland; Deadline: March 01, 2015) http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3id=72f547c278e=4e65756555 artvideoKOELN (Cologne, Germany; Deadline: March 02, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=10584e6875e=4e65756555 ANIMATOR 2015, 8th International Animated Film Festival (Poznan, Poland; Deadline: March 02, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=182eec8ac4e=4e65756555 Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Platonic: Dani Leventhal In Person (#anchor1) [January 31, Austin, Texas 78702] * Anthromentaries Four With Steve Wetzel At Uniondocs (Nyc Premiere) (#anchor2) [January 31, Brooklyn, New York 11211] * The New England Home Movie Tour - Denver Edition (#anchor3) [January 31, Denver, CO] * Solitude Escape: Marvelous Movies With Amir George (#anchor4) [January 31, Los Angeles, California] * Landscape Verses: An Evening of Live Film Sound (#anchor5) [January 31, San Francisco, California] * Wysiwyg the Films of Michael Snow: Wavelengths + Snow In vienna (#anchor6) [January 31, Toronto, Ontario, Canada] * Field Niggas and Khamaica With Khalik Allah and Fab Five Freddy At Uniondocs (#anchor7) [February 1, Brooklyn, New York 11211] * Joe Gibbons: Confessions of A Sociopath (#anchor8) [February 1, Los Angeles, California] * Anouk De Clercq: Architectonics (#anchor9) [February 1, Toronto, Ontario, Canada] * Dance On Camera 2015: Ghost Line and Other Celluloid Antics (#anchor10) [February 2, New York, New York] * Wie Man Sieht (As You See) - In Memory of Filmmaker Harun Farocki Screening 4: Stilleben (Still Life) and Ein Bild (An Image) (#anchor11) [February 4, Los Angeles, California] * Exploding Cinema (#anchor12) [February 6, London, England] * Mush! To the Movies: A Polar Film Club - the Eskimo Baby (#anchor13) [February 6, Los Angeles, California] * That Which Is Possible With Michael Gitlin At Uniondocs (#anchor14) [February 7, Brooklyn, New York 11211] * Send Blank Tape With Skip Blumberg and Liz Flyntz At Uniondocs (#anchor15) [February 8, Brooklyn, New York 11211] * Daredevils, By Stephanie Barber (#anchor16) [February 8, Los Angeles, California] * Shapeshifters Cinema Presents Cheryl Leonard With Rebecca Haseltine and Oona Stern (#anchor17) [February 8, Oakland] SATURDAY, JANUARY 31, 2015 1/31 Austin, Texas 78702: Experimental Response Cinema http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=825cb840f2e=4e65756555 7:00pm, Mass Gallery, 507 Calles Street Suite 108 PLATONIC: DANI LEVENTHAL IN PERSON Experimental Response Cinema is pleased to bring you a selection of experiential video works by Dani Leventhal, along with the artist herself. Leventhal peruses and captures her environment with a handheld camera that, as she describes it, functions as an extension of the body. Using intuitive montage strategies, she coaxes
[Frameworks] show in Denver tonight
Hello Frameworkers in the Boulder/Denver area. Here's whats on tap for the New England Home Movie Tour - Denver Edition https://www.facebook.com/events/598651916931585/. Show is at Glob 3551 Brighton Blvd. Denver, CO 80216 doors are at 8pm and show starts at 8:30pm. It's listed on this week.. But, without the program notes. So, here it is.. *New England Home Movie Tour* *Glob, Denver, COSaturday, 1/31/15 * *Trt approx 90min* *Undergrowth* (2011), Robert Todd, 11min, color, sound, 16mm A hunter dreams through its prey's eyes. *Animals Moving to the Sound of Drums* (2013), Jonathan Schwartz 8min, color, sound, 16mm That fall it was not intentional to have a Galway Kinnell book on the table near where the caterpillar in the doorway, feeding on our offerings, became the butterfly, feeding on honey water, staying in our house until we let it go. Or it was not known about the deer in Putney or that the baby birds in the raspberry bushes would cry to us in summer. A beloved, old friend once visited Vermont to do some work for Galway Kinnell and she described a stone table in the field where they ate meals in the afternoon - it sounded like a song and so I looked at the book and from Little Sleep's-Head Sprouting Hair in the Moonlight here is that line: “The still undanced cadence of vanishing”. *Tracking Shots: minus moose* (2014), Colin Brant, 5min, bw, sound, 16mm Winter is cold, the Taiga is vast, and moving through it somewhere is a cloistered beast. This film is the first of several animated tracking shot films that was shot with a Bolex on black and white reversal film and hand processed in buckets. *The Natural History of Harris Ave* (2004), Jo Dery, 3min, bw, sound, 16mm Xerox transfer and silkscreen on clear leader Images of different weeds growing along Harris Avenue in Providence, RI * Roadside Attractions* (2013), Robert Todd, 9min, color, sound, 16mm Sights of sites along the road. Circling a City Block in Boston. 35mm handmade slides from 2008-2012 - selections from Light Fractures, Meat, and Sorry, Luther Price *3 Generations: Training* (2014), Warren Cockerham, 10min, color, sound, 16mm A collage film. Contents: a 70s educational film for parents, silk screen copies, macro footage of court and police records, 2 photographs, elastration footage and fingerprints. *Dirty Rosa* (2004), Luther Price, 4min, color, sound, 16mm *Scream Tone* (2004), Jo Dery, 3min, bw, sound, 16mm This is a direct animation made by applying Letraset half-tone films onto 16mm film. The sound is made by the image as read on the optical track. There is both a positive and negative version of the film; the sound reads differently in each version. *Persian Pickles* (2012) Jodie Mack, 3min, color, sound, 16mm A swimming study of paisley patterns traces this decorative motif from its origins in Persian weavings to appearances Irish quilting and American Counterculture. Extending on the stroboscopic tradition of anti-animation, this short material study fixates upon discarded materials to examine the decorative and its relationship to the cycles of industry and evolving modes of production. *Trembling Palace* (2013), Robert Todd, 6min, color, sound, 16mm The world shivers in the darkness, trembles in the light. Winter, Boston, 2012. *If the War Continues* (2012), Jonathan Schwartz, 5min, color, sound, 16mm for ascending: “and before I could be noticed again and taken to task, I spoke to the tiny blessed star within me, shut off my heartbeat, made my body disappear into the shadow of a bush, and continued my previous voyage without thinking about returning home ever again.” -H.Hesse *Inkblot #40: Sleep* (2011), Luther Price, 5min, color, sound, 16mm 35mm handmade slides from 2008-2012 - selections from Light Fractures, Meat, and Sorry, Luther Price *Inkblot #22 *(2008), Luther Price, 5min, color, sound, 16mm *Future is Brigh*t (2011), Jodie Mack, 3min, color, sound, 16mm 'Tis a rhyme for your lips And a song for your heart To sing it whenever The world falls apart ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] question regarding color preservation of early animation films
Hello Frameworkers, I have a question regarding color preservation of Walter Ruttmann's Opus films, and was hoping you might be able to point me in the right direction or share your insights with me. I am currently researching the use of color (or lack thereof) in the early absolute animations by Viking Eggeling, Hans Richter and Walter Ruttmann, and recently came across an essay by William Moritz titled Non-Objective Film - The Second Generation (1979). He states that we have only fragmentary black-and-white silent prints of Ruttmann's originally hand-coloured films - and yet, these https://www.youtube.com/watch?v=od0MxuD4xxQ digital color versions of his films are widespread online. So, my question is: What do we actually know about the use of color in Walter Ruttmann's Opus films, and what sources is this knowledge based on if his colorized films are not preserved? Have there been any new insights since Moritz' essay was published? And who made these digital color versions of his films - are they just amateur work, or are they a legit institutional reconstruction project? Any leads you might have regarding the use and preservation of color in Ruttmann's films or in early abstract films in general will be greatly appreciated. Thanks so much! Laura ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Green and Orange Films
I thought for sure that someone would chime in with Hollis Frampton's Carrots and Peas. It is less thematically and more literally orange and green, respectively (assuming you are not watching a faded print). http://www.hulu.com/watch/497488 James Kreul kre...@gmail.com On Sat Jan 31 2015 at 1:03:49 PM Andy Ditzler a...@andyditzler.com wrote: Orange by Karen Johnson, 1971 Andy Ditzler On Sat, Jan 31, 2015 at 3:39 AM, Benjamin Popp noiseonf...@gmail.com wrote: I'm looking for films with a theme of the color Green or Orange. Any ideas? ben ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ 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] Green and Orange Films
It’s been many decades since I saw Markopoulos’s “Ming Green” so I don’t know if it literally has green in it. Or does it matter. Theme isn’t motif. On Jan 31, 2015, at 7:21 PM, James Kreul kre...@gmail.com wrote: I thought for sure that someone would chime in with Hollis Frampton's Carrots and Peas. It is less thematically and more literally orange and green, respectively (assuming you are not watching a faded print). http://www.hulu.com/watch/497488 http://www.hulu.com/watch/497488 James Kreul kre...@gmail.com mailto:kre...@gmail.com On Sat Jan 31 2015 at 1:03:49 PM Andy Ditzler a...@andyditzler.com mailto:a...@andyditzler.com wrote: Orange by Karen Johnson, 1971 Andy Ditzler On Sat, Jan 31, 2015 at 3:39 AM, Benjamin Popp noiseonf...@gmail.com mailto:noiseonf...@gmail.com wrote: I'm looking for films with a theme of the color Green or Orange. Any ideas? ben ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com mailto:FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org http://www.filmlove.org/ www.johnq.org http://www.johnq.org/ Graduate Institute of the Liberal Arts, Emory University ___ 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] question regarding color preservation of early animation films
Some original hand-painted prints of Opus 1 were preserved, and 16mm prints from these are still in circulation today. When you see the 16mm prints projected you can see the hand-painted color bleed beyond the edges of the white shapes (unlike in those youtube videos). Later Moritz himself provided new color restorations of Opus 1 and/or Ballet Mecanique, but I always prefered the unrestored versions. Have you not seen the prints projected? Pip Chodorov At 17:08 -0500 31/01/15, Laura Trager wrote: Any leads you might have regarding the use and preservation of color in Ruttmann's films or in early abstract films in general will be greatly appreciated. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] question regarding color preservation of early animation films
Le Giornate del Cinema Muto festival showed restored 35mm prints of the Ruttmann shorts in 2000, most of which were from the Munich Stadtmuseum and/or Netherlands Filmmuseum (now Eye). Some were tinted/toned, others were directly colored, and the 35mm preservations were done on color stock to retain these qualities. Don't know if they've been made available digitally. And prints may only be obtainable from those archives, though perhaps MoMA or another US archive or museum acquired some. Mark Toscano On Jan 31, 2015, at 2:08 PM, Laura Trager tragerla...@gmail.com wrote: Hello Frameworkers, I have a question regarding color preservation of Walter Ruttmann's Opus films, and was hoping you might be able to point me in the right direction or share your insights with me. I am currently researching the use of color (or lack thereof) in the early absolute animations by Viking Eggeling, Hans Richter and Walter Ruttmann, and recently came across an essay by William Moritz titled Non-Objective Film - The Second Generation (1979). He states that we have only fragmentary black-and-white silent prints of Ruttmann's originally hand-coloured films - and yet, these digital color versions of his films are widespread online. So, my question is: What do we actually know about the use of color in Walter Ruttmann's Opus films, and what sources is this knowledge based on if his colorized films are not preserved? Have there been any new insights since Moritz' essay was published? And who made these digital color versions of his films - are they just amateur work, or are they a legit institutional reconstruction project? Any leads you might have regarding the use and preservation of color in Ruttmann's films or in early abstract films in general will be greatly appreciated. Thanks so much! Laura ___ 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] question regarding color preservation of early animation films
Thank you, Pip, for the quick response! No, I haven't seen or heard of the existence of Ruttmann's hand-painted prints... Do you know where they are archived or where/how I might have a chance to see them? Also, aside from the bleed, can you tell me how similar these digital versions are to the original? Thanks so much! 2015-01-31 17:24 GMT-05:00 Pip Chodorov framewo...@re-voir.com: Some original hand-painted prints of Opus 1 were preserved, and 16mm prints from these are still in circulation today. When you see the 16mm prints projected you can see the hand-painted color bleed beyond the edges of the white shapes (unlike in those youtube videos). Later Moritz himself provided new color restorations of Opus 1 and/or Ballet Mecanique, but I always prefered the unrestored versions. Have you not seen the prints projected? Pip Chodorov At 17:08 -0500 31/01/15, Laura Trager wrote: Any leads you might have regarding the use and preservation of color in Ruttmann's films or in early abstract films in general will be greatly appreciated. ___ 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] question regarding color preservation of early animation films
I don't know where the hand painted originals are or if any exist at all. There must be an internegative at the Eye Institute (Amsterdam) because I think the 16mm print originally in circulation in Paris came from the Dutch Filmmuseum in the 1980s. New prints come from CVM and were supervised by Moritz but I don't remember the exact source of the older prints. (I may be confusing with Ballet Mecanique because Moritz also restored that.) We released a VHS in 1998 called Dancing Images with a Dutch company and we included Opus. We got the rights from Ruttman's daughter Eva Riehl and I made a Beta master from one of those original prints. Write me off-list if you are interested in obtaining a digital file transfer from the beta at cost. -Pip At 17:29 -0500 31/01/15, Laura Trager wrote: No, I haven't seen or heard of the existence of Ruttmann's hand-painted prints... Do you know where they are archived or where/how I might have a chance to see them? Also, aside from the bleed, can you tell me how similar these digital versions are to the original? ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] question regarding color preservation of early animation films
They're all on this DVD set, in color and very legible transfers; region 0 disk: http://www.edition-filmmuseum.com/product_info.php/info/p70_Berlin--die-Sinfonie-der-Gro-stadt---Melodie-der-Welt.html Michael Betancourt Savannah, GA USA michaelbetancourt.com twitter.com/cinegraphic | vimeo.com/cinegraphic www.cinegraphic.net | the avant-garde film video blog On Sat, Jan 31, 2015 at 5:08 PM, Laura Trager tragerla...@gmail.com wrote: Hello Frameworkers, I have a question regarding color preservation of Walter Ruttmann's Opus films, and was hoping you might be able to point me in the right direction or share your insights with me. I am currently researching the use of color (or lack thereof) in the early absolute animations by Viking Eggeling, Hans Richter and Walter Ruttmann, and recently came across an essay by William Moritz titled Non-Objective Film - The Second Generation (1979). He states that we have only fragmentary black-and-white silent prints of Ruttmann's originally hand-coloured films - and yet, these https://www.youtube.com/watch?v=od0MxuD4xxQ digital color versions of his films are widespread online. So, my question is: What do we actually know about the use of color in Walter Ruttmann's Opus films, and what sources is this knowledge based on if his colorized films are not preserved? Have there been any new insights since Moritz' essay was published? And who made these digital color versions of his films - are they just amateur work, or are they a legit institutional reconstruction project? Any leads you might have regarding the use and preservation of color in Ruttmann's films or in early abstract films in general will be greatly appreciated. Thanks so much! Laura ___ 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] Green and Orange Films
Autumnal by Stan Brakhage, 1993. At 0:39 -0800 31/01/15, Benjamin Popp wrote: I'm looking for films with a theme of the color Green or Orange. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
