Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Steve Polta]

Herbert Jean deGrasse:* Film Watchers* (1974)
http://canyoncinema.com/catalog/film/?i=730

Back to Tony Conrad and spoilers...
Somewhere out there there are stories about a very short Conrad film which
involves a long, very elaborate, personal introduction by the filmmaker, in
which he goes on and on about how maximal the film is, how it is such
compacted and impactively overwhelming and immersive experience that words
cannot do it justice etc. Reports report that the introduction is easier
longer than the film itself. But when the film is screened (and I don't
know what film it is), the film—perhaps due to this hyperbolic set-up,
perhaps due to its own artistic merits—when the film is screened it
delivers on Conrad's promise. Always been curious about this.

In a way (somehow) this recalls (to me) the film-within-a-film in Kelly
Sears' *Once It Started It Could Not End Otherwise*
,
which (the film-within-the-film) is presented as "evidence" of a mysterious
disaster which is described but also not described...

Steve Polta



On Thu, Jan 14, 2016 at 8:56 AM, Andy Ditzler  wrote:

> I'd recommend The Cut-Ups, film by Antony Balch in collaboration with
> William Burroughs and Brion Gysin. On two occasions (Documenta in 2007 and
> my own screening in Atlanta 2009), it drove the audience into active
> rebellion. (Since I had associated screening rebellions with past eras, I
> was quite surprised to see one take place!) It was the repetitive
> soundtrack: "Yes, hello," and a few other phrases, spoken in overlap by
> Burroughs and Gysin, unrelenting for twenty minutes. After awhile,
> impatient viewers started audibly throwing the phrases back at the screen
> ('HELLO!!"), while the rest of the audience nervously laughed or otherwise
> audibly squirmed. Among other things, the film - as screened publicly - is
> a great prank. In a long early-70s profile in Cinema Rising, Balch
> described similar discombobulation at the film's early London screenings.
> However, a more recent screening at MoMA (which placed the film in a much
> different historical and audience context) garnered no audible reaction at
> all.
>
> The other day reading P. Adams Sitney's book Eyes Upside Down (p. 174), I
> came across a reference to a film I haven't seen but mean to track down:
> "Herbert Jean deGrasse's hilarious Film Watchers (1974) hurls abuse at
> typical avant-garde film audiences."
>
> "Reactionary right-wingers" might have the majority of exactly the kind of
> protest you describe. What about thinking of this in larger terms too - the
> reactions in the U.S. to Last Temptation of Christ or, especially, Marlon
> Riggs' Tongues Untied, which most saw on public television - no screen to
> tear down, but plenty of invective, much of which I have always suspected
> was triggered by the film's form as much as its content.
>
> Andy Ditzler
> Founder and curator, Film Love: www.filmlove.org
> Co-founder, John Q collective: www.johnq.org
>
>
>
> On Tue, Jan 12, 2016 at 10:33 PM, Jesse Malmed 
> wrote:
>
>> Hello,
>>
>> I'm looking for texts and works that draw connections (and erase them
>> too, sure) between early cinema and the beginnings of video. And, for that
>> matter, with other nascent technologies and their shared tendencies. Camera
>> tricks, formal inventiveness, actualities, etc.
>>
>> Also, while I've got you — I was thinking about the (perhaps apocryphal,
>> cunningly Gunningly so) stories of genuine fears about the Lumière train's
>> first projection and the stories of the outraged audience at an early
>> showing of L'Age D'Or throwing ink at the screen in protest. Ink on the
>> screen is a pretty amazing gesture (it is about to not go without saying
>> that I am obviously staunchly in the camp of artists over reactionary
>> right-wingers) even/especially with its scale of potency to poetry. Are
>> there other related stories you'd like to share? Torn down screens? Shadow
>> puppets between the projector and the screen? Well-deployed spoilers?
>>
>> *JM*
>>
>> --
>> *// // // J E S S E  M A L M E D *
>> 505.690.7899 // jesse.mal...@gmail.com // live to tape
>> 
>> jessemalmed.net  // deep leap
>>  // nightingale 
>> // trunk show  //
>> projective verse  // bad at
>> sports  // acre_tv
>>  // western pole 
>>
>> *
>> Trunk
>> Show in Newcity
>> **
>> / **JM on WDCB
>> 

Re: [Frameworks] Call for Submissions: Edinburgh International Film Festival

[Andrea Márquez]

Dear Kim,

Happy New Year!
My name is Andrea Marquez. I'm a Frameworks subscriber and I would like to
submitt two works online if that it's still possible.
Please, let me know how to proceed.

Many thanks!
I wish you all the best,
Andrea
http://andreamarquezportfolio.blogspot.co.uk/2015/03/biography-and-filmography.html



*CUMULUS & NIMBUS. A video about clouds.A video about *


*data surveillance and digital archives.Performed by Mercedes MouliaBy
Andrea Marquezhttps://youtu.be/y3C6P2OKeSs *

***


*Landscapes for my friends from California*

*Two-channel video installation | HD Video | London, UK 2015By Andrea
Márquez*
See attached file for more details

*Channel I*


*https://youtu.be/QwgnZtymWAo **Channel II *
*https://youtu.be/TFCkjj9_FdE *

2015-12-22 9:22 GMT+00:00 Kim Knowles :

> *Call for Submissions: 70th Edinburgh International Film Festival*
> *Deadline*: February 17, 2016
>
> Festival dates: June 15 - 26, 2016
>
> EIFF are inviting experimental submissions for the *Black Box *strand,
> now in its 14th year. We welcome short to medium length work on 16mm, 35mm
> and digital.
>
> Black Box is a distinctive section within the festival,
> which presents a diverse spectrum of experimental work from around the
> world. It is committed to supporting photochemical film and artisanal
> practice as well as digital.
>
> All films must be UK premieres and should be no more than 12 months old at
> the time of screening. Full rules and regulations can be found here:
> http://www.edfilmfest.org.uk/submissions/rules-regulations.
>
> As in previous years, I am able to offer fee waivers to EIFF alumni and
> Frameworks subscribers. To take advantage of this please contact me
> privately with an indication of whether you would like to submit online or
> by post.
>
> Happy holidays to you all!
>
> Kim Knowles
> Experimental Programmer
> Edinburgh International Film Festival
>
> ===
> KEEP IN TOUCH WITH EIFF
> Become a web member for FREE and receive news and offers:
> http://www.edfilmfest.org.uk/register
> Follow EIFF at: https://twitter.com/edfilmfest or
> http://www.facebook.com/edfilmfest
> ===
> t. +44(0)131 228 4051
> f. +44(0)131 229 5501
> w. http://www.edfilmfest.org.uk
> 88 Lothian Road, Edinburgh EH3 9BZ Scotland, United Kingdom
> The Edinburgh International Film Festival Limited is a subsidiary of the
> Centre for the Moving Image. Registered in Scotland No: SC132453. VAT No:
> 502 548861. Registered Office: 88 Lothian Road, Edinburgh.
>
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[Frameworks] Experimental Films on Farming/ Agriculture

[Heath Iverson]

Any suggestions on avant-garde/experimental films that deal with any
aspects of farming/gardening/plant or animal agriculture?

A few examples might be Marjorie Keller's *Answering Furrow *or Lucien
Castaing-Taylor's *Sweetgrass. *Other ideas?
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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[Stephen Broomer]

Hi Heath,


There's always Jack Chambers' Hybrid. I wrote something about it here: 
https://cfmdcresidentscholar.wordpress.com/2015/12/17/on-jack-chambers-hybrid/


Stephen

[https://cfmdcresidentscholar.files.wordpress.com/2015/12/hybrid_7.jpg?w=1200]

On Jack Chambers' 
Hybrid
cfmdcresidentscholar.wordpress.com
By Stephen Broomer The following text is an excerpt from my ongoing writings on 
the films of Jack Chambers. It deals with Hybrid (1967), Chambers' second film, 
made in outrage over the Vietnam War






From: FrameWorks  on behalf of Heath 
Iverson 
Sent: January 14, 2016 12:50 PM
To: Experimental Film Discussion List
Subject: [Frameworks] Experimental Films on Farming/ Agriculture

Any suggestions on avant-garde/experimental films that deal with any aspects of 
farming/gardening/plant or animal agriculture?

A few examples might be Marjorie Keller's Answering Furrow or Lucien 
Castaing-Taylor's Sweetgrass. Other ideas?
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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[Benjamin Léon]

Hi Heath,

'Three Landscapes' (2013) by Peter Hutton (one segment).

'Works and Days' (1969) by Hollis Frampton.

Best.


2016-01-14 18:50 GMT+01:00 Heath Iverson :

> Any suggestions on avant-garde/experimental films that deal with any
> aspects of farming/gardening/plant or animal agriculture?
>
> A few examples might be Marjorie Keller's *Answering Furrow *or Lucien
> Castaing-Taylor's *Sweetgrass. *Other ideas?
>
> ___
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> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>


-- 
Benjamin Léon
benj.l...@gmail.com
(Fr) + 33 (0)6 28 07 18 00

http://ben-newhorizons.tumblr.com/
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Bernard Roddy]

I think this work by Tony mentioned by Fred is reproduced as a
diagram/instruction in:
W + B Hein : Dokumente 1967-1985, Fotos, Briefe, Texte.

On Thu, Jan 14, 2016 at 12:47 AM, Cinema Project 
wrote:

> Jesse!
>
> In regards to "well-deployed spoilers," I might look into Maurice
> LeMaître's "Le film est déjà commencé?" from 1952. It was a Lettrist film
> and supposed staged provocation. There's some accounts/ info on it in
> Off-Screen Cinema by Kaira M Cabañas.
>
> Might not be what you're looking for at all, but it's an interesting sort
> of (delayed) response to those legendary "reactions."
>
> Mia Ferm
>
> --
> *Cinema Project*
> www.cinemaproject.org
> 971-266-0085
> PO Box 5991
> Portland, OR 97228
>
>
> On Wed, Jan 13, 2016 at 8:50 PM, Fred Camper  wrote:
>
>> Yes, that's right. Because it was positive film, a succession of black
>> and white rectangles appeared inside each other as with each new pass the
>> previous result was filmed. I believe it was around 40 minutes long. It was
>> really interesting; I had never seen anything like it before, and have not
>> since.
>>
>> Fred Camper
>>
>>
>> On 1/13/2016 11:32 PM, Gene Youngblood wrote:
>>
>> I believe Tony Conrad did some kind of demonstration or performance of
>> “film feedback” in which exposed 16mm film went immediately into a
>> developing bath and was projected, and the projection was filmed and
>> projected, and so on.  No doubt someone on this list remembers that and can
>> describe it properly. Also, for scholars of early video, in the current
>> issue of Afterimage Robyn Farrell has an in-depth history of Gerry Schum’s
>> “TV Gallery” and “Video Gallery” projects in Germany in the late sixties,
>> which I only alluded to in passing in Expanded Cinema.
>>
>>
>> On Jan 13, 2016, at 3:17 PM, robert harris  wrote:
>>
>> The “early cinema/early video” query is a good one, one that I’ve not
>> seen explored with much rigor.
>>
>> Kleinhans’ question of “broadcast TV or portapak” is significant.
>>
>> Early TV might have more in common with radio than with early film.
>>
>> Early video (portapak) provoked, for some practitioners, sensibilities in
>> keeping with those of the Lumieres.
>>
>> The Lumiere camera was more like video than any other camera (including
>> the Edison version) as it was, like video, a capture and playback device
>> (and lab).
>>
>> The promptness with which the Lumieres could playback their recordings
>> (if my film mythology serves me) is almost video-like (time was a little
>> slower in those days, so they say).
>>
>>  Both early film and early video were made without post-production
>> edits, hence were finished in camera.
>>
>>  Video’s instant feedback loop is an unequivocal distinction from film.
>>
>> To give proper attention to all origin strains of video, you have to
>> consider camera-less, raster based work (Nam June Paik, Wolf Vostell and
>> others).
>>
>> The “early cinema” equivalent might be the first people to mark on clear
>> leader, some Italian Futurists, Hans Richter, Man Ray etc.
>>
>>  As to cultural “outrage”, it wasn’t uncommon for the people throwing
>> things at the artists and making big scenes to be the Surrealists
>> themselves.
>>
>>
>>
>> Some worthy writing of early video (essays you should be able to easily
>> find):
>>
>> Hollis Frampton, *The Withering Away of the State of the Art*
>>
>> David Antin, *Video: The Distinctive Features of the Medium*
>>
>>
>>
>> On Jan 13, 2016, at 2:46 AM, Chuck Kleinhans 
>> wrote:
>>
>> An answer depends on how “early” you’re talking about film (1890s?
>> later?), and about video (Broadcast TV or Portapak?).  Probably the most
>> significant common feature is the fixed camera position.
>>
>> The most significant difference (beyond the obvious one of resolution) is
>> shot duration.  Video (portpak on) allowed for remarkably long shots
>> compared to almost all film.
>>
>> If you (or anyone) can find it, Noel Burch’s film “Correction Please, or
>> How We Got Into Pictures” is a great explanation of the evolution of early
>> films' means and style, concentrating on how the audience was shaped by the
>> evolving formal elements of cinema.
>>
>> Chuck Kleinhans
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>>
>>
>>
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>>
>>
>>
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Steve Polta]

A 16mm print of Tony Conrad's *Film Feedback *is distributed in 16mm by
Canyon Cinema.
http://canyoncinema.com/catalog/film/?i=680
1974, 15 minutes.
Yeah I think it's a candle but it's basically "the" rectangle. White
screen, filmed in negative becomes black, re-projected & filmed, processed
again, re-projected/filmed pos/neg/pos/neg/etc. Becomes rectangles within
rectangles within rectangles, alternating black/white/black/white,
receding. At one point there is a little jam, a little frame line stutter,
this (presumable) accidental gesture is re-photographed in subsequent
iterations of the series and becomes a major event in this "minimalist"
film. Now that I've written this I'm not 100% certain of presence of the
on-screen the candle.

This film recalls (to me) a series of performance films by William Raban
titled *2'45* (1973), in which the filmmaker, standing in front of a
screen, speaks a short description of the *2'45* project and is
filmed—single take—in 16mm sync sound. The resultant married print is then
projected (with sound), say a day later, with the filmmaker making the same
speech (so he's on screen and in real life; get it?), this combo also being
sync filmed. The result is then projected (so there's two of him on screen,
rectangle within rectangle, receding) while he speaks, etc etc etc. 16mm
feedback loop but not instantaneous; there's about a day lag between
segments. No it's not endlessly ongoing; it's a different version on
different occasions.

Steve Polta




On Wed, Jan 13, 2016 at 3:47 PM, Pip Chodorov 
wrote:

> I can provide Lemaitre's film if you are interested.
> Isou's film ON VENOM AND ETERNITY is an earlier iteration, Lemaitre went
> farther into self-recursion (a film about itself).
> Pip
>
>
> At 22:47 -0800 13/01/16, Cinema Project wrote:
>
>> In regards to "well-deployed spoilers," I might look into Maurice
>> LeMaître's "Le film est déjà commencé?" from 1952. It was a Lettrist film
>> and supposed staged provocation. There's some accounts/ info on it in
>> Off-Screen Cinema by Kaira M Cabañas.
>>
>
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Esperanza Collado]

I was thinking of Raban´s piece as well, and there is another Conrad work
that may fit into the idea of "well-deployed spoilers" which is his "Film
electrocution". I copy and paste from IFFR:

"A semi-scientific experiment to expose film by electrocution, involving a
Tesla Coil, medical lubricant and buckets of film developer. Results will
be screened on the spot. Conrad’s self-reflexivity is invested with far
more self-mocking humour than any other visionary experimental filmmaker
could muster. The artist’s struggle with media equipment and codes, the
effort to force them past their oppressive limitations, became an
Herculean, or Chaplinesque, battle with an unyielding authority. In *Film
Electrocution*, Conrad attempted to make an image without exposing the film
to light, submitting it instead to boiling, baking, and electroshock. See
also his *Pickled Films* in the exhibition Borderline Behaviour."

There may be a few Lettrist actions you´d like to consider as well indeed,
works falling in the realm of happening and performance that involve the
destruction of the film equipment and other reactionary actions such as
interrupting the screening several times or lock the audience in the venue.
The one by Lemaitre others mentioned is particularly interesting because
projector, screen and film were torned into pieces in front of audience.

The Viennese actionists also come to mind, with their anarchistic and
agressive performances towards the audience using balls made of barbed wire
against the screen, an "audience extinguiser", and whipping the audience
too...check Valie Export and Peter Weibel for that, or (less provocative)
the performance *The Time for ACTION has come*, by Gottfried Schlemmer in
which he cuts through the actual screen and jumps into the audience.
There´s some interesting stories about José Antonio de Maenza too
interrupting screenings and faking shoots... My own work in collaboration
with Maximilian Le Cain (Operation Rewrite) is very much connected with
this line of artistic research too, and destruction/failure of equipment
has been present in our work.  Another piece that comes to mind is Ernst
Schmidt Jr.´s *Hells Angels*, involving no actual film projection but the
whole audience throwing paper balls to the screen (illuminated by naked
light from a projector). I guess that is a sort of "spoiler" too...

Hasta la vista,

Esperanza.

2016-01-14 9:16 GMT+01:00 Steve Polta :

> A 16mm print of Tony Conrad's *Film Feedback *is distributed in 16mm by
> Canyon Cinema.
> http://canyoncinema.com/catalog/film/?i=680
> 1974, 15 minutes.
> Yeah I think it's a candle but it's basically "the" rectangle. White
> screen, filmed in negative becomes black, re-projected & filmed, processed
> again, re-projected/filmed pos/neg/pos/neg/etc. Becomes rectangles within
> rectangles within rectangles, alternating black/white/black/white,
> receding. At one point there is a little jam, a little frame line stutter,
> this (presumable) accidental gesture is re-photographed in subsequent
> iterations of the series and becomes a major event in this "minimalist"
> film. Now that I've written this I'm not 100% certain of presence of the
> on-screen the candle.
>
> This film recalls (to me) a series of performance films by William Raban
> titled *2'45* (1973), in which the filmmaker, standing in front of a
> screen, speaks a short description of the *2'45* project and is
> filmed—single take—in 16mm sync sound. The resultant married print is then
> projected (with sound), say a day later, with the filmmaker making the same
> speech (so he's on screen and in real life; get it?), this combo also being
> sync filmed. The result is then projected (so there's two of him on screen,
> rectangle within rectangle, receding) while he speaks, etc etc etc. 16mm
> feedback loop but not instantaneous; there's about a day lag between
> segments. No it's not endlessly ongoing; it's a different version on
> different occasions.
>
> Steve Polta
>
>
>
>
> On Wed, Jan 13, 2016 at 3:47 PM, Pip Chodorov 
> wrote:
>
>> I can provide Lemaitre's film if you are interested.
>> Isou's film ON VENOM AND ETERNITY is an earlier iteration, Lemaitre went
>> farther into self-recursion (a film about itself).
>> Pip
>>
>>
>> At 22:47 -0800 13/01/16, Cinema Project wrote:
>>
>>> In regards to "well-deployed spoilers," I might look into Maurice
>>> LeMaître's "Le film est déjà commencé?" from 1952. It was a Lettrist film
>>> and supposed staged provocation. There's some accounts/ info on it in
>>> Off-Screen Cinema by Kaira M Cabañas.
>>>
>>
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>


-- 
Esperanza 

Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Jonathan Walley]

There is indeed a candle onscreen, though by the end of the film the image gets 
pretty hard to make out but the end - its legibility is already compromised by 
the speedy development process (the film was running at only a few frames per 
second out from the camera, over rollers, under doors, through 
processing/fixing/wiping off, and finally out into the room with the projector 
and screen). The purpose of the candle, as I understand it, was to “prove” that 
the nested images were created in real time, not the result of multiple 
optically-printed shots edited together. The candle burns uninterrupted as the 
images shift from positive to negative and back again, each new layer pushing 
the previous one(s) back into an ever-deepening nest of images, like a mirror 
tunnel. 

My recollection is that the film was intended to make the film medium do 
something that another medium was said to do uniquely (i.e. feedback as a 
phenomenon unique to video, not to mention video’s immediacy, another trait 
often singled out in early texts on video art as something distinct to video). 

[from the department of self-aggrandizement, I write about FF in “Identity 
Crisis…” in October 137).

Lots to say about the implications of this film for emerging critical 
discourses on video art and TV in the 1970s, and specifically the relationship 
between cinema and video, especially as the latter seems to have begun to 
distinguish itself from the blanket term “expanded cinema” (and just “cinema”) 
as the ‘70s wore on. I might have time later to expound/expand later (as if 
anyone cares). 

JW

Dr. Jonathan Walley
Associate Professor and Chair
Department of Cinema
Denison University
wall...@denison.edu


> On Jan 14, 2016, at 3:16 AM, Steve Polta  wrote:
> 
> A 16mm print of Tony Conrad's Film Feedback is distributed in 16mm by Canyon 
> Cinema.
> http://canyoncinema.com/catalog/film/?i=680 
> 
> 1974, 15 minutes.
> Yeah I think it's a candle but it's basically "the" rectangle. White screen, 
> filmed in negative becomes black, re-projected & filmed, processed again, 
> re-projected/filmed pos/neg/pos/neg/etc. Becomes rectangles within rectangles 
> within rectangles, alternating black/white/black/white, receding. At one 
> point there is a little jam, a little frame line stutter, this (presumable) 
> accidental gesture is re-photographed in subsequent iterations of the series 
> and becomes a major event in this "minimalist" film. Now that I've written 
> this I'm not 100% certain of presence of the on-screen the candle.
> 
> This film recalls (to me) a series of performance films by William Raban 
> titled 2'45 (1973), in which the filmmaker, standing in front of a screen, 
> speaks a short description of the 2'45 project and is filmed—single take—in 
> 16mm sync sound. The resultant married print is then projected (with sound), 
> say a day later, with the filmmaker making the same speech (so he's on screen 
> and in real life; get it?), this combo also being sync filmed. The result is 
> then projected (so there's two of him on screen, rectangle within rectangle, 
> receding) while he speaks, etc etc etc. 16mm feedback loop but not 
> instantaneous; there's about a day lag between segments. No it's not 
> endlessly ongoing; it's a different version on different occasions.
> 
> Steve Polta
> 
> 
> 
> 
> On Wed, Jan 13, 2016 at 3:47 PM, Pip Chodorov  > wrote:
> I can provide Lemaitre's film if you are interested.
> Isou's film ON VENOM AND ETERNITY is an earlier iteration, Lemaitre went 
> farther into self-recursion (a film about itself).
> Pip
> 
> 
> At 22:47 -0800 13/01/16, Cinema Project wrote:
> In regards to "well-deployed spoilers," I might look into Maurice LeMaître's 
> "Le film est déjà commencé?" from 1952. It was a Lettrist film and supposed 
> staged provocation. There's some accounts/ info on it in Off-Screen Cinema by 
> Kaira M Cabañas.
> 
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Andy Ditzler]

I'd recommend The Cut-Ups, film by Antony Balch in collaboration with
William Burroughs and Brion Gysin. On two occasions (Documenta in 2007 and
my own screening in Atlanta 2009), it drove the audience into active
rebellion. (Since I had associated screening rebellions with past eras, I
was quite surprised to see one take place!) It was the repetitive
soundtrack: "Yes, hello," and a few other phrases, spoken in overlap by
Burroughs and Gysin, unrelenting for twenty minutes. After awhile,
impatient viewers started audibly throwing the phrases back at the screen
('HELLO!!"), while the rest of the audience nervously laughed or otherwise
audibly squirmed. Among other things, the film - as screened publicly - is
a great prank. In a long early-70s profile in Cinema Rising, Balch
described similar discombobulation at the film's early London screenings.
However, a more recent screening at MoMA (which placed the film in a much
different historical and audience context) garnered no audible reaction at
all.

The other day reading P. Adams Sitney's book Eyes Upside Down (p. 174), I
came across a reference to a film I haven't seen but mean to track down:
"Herbert Jean deGrasse's hilarious Film Watchers (1974) hurls abuse at
typical avant-garde film audiences."

"Reactionary right-wingers" might have the majority of exactly the kind of
protest you describe. What about thinking of this in larger terms too - the
reactions in the U.S. to Last Temptation of Christ or, especially, Marlon
Riggs' Tongues Untied, which most saw on public television - no screen to
tear down, but plenty of invective, much of which I have always suspected
was triggered by the film's form as much as its content.

Andy Ditzler
Founder and curator, Film Love: www.filmlove.org
Co-founder, John Q collective: www.johnq.org



On Tue, Jan 12, 2016 at 10:33 PM, Jesse Malmed 
wrote:

> Hello,
>
> I'm looking for texts and works that draw connections (and erase them too,
> sure) between early cinema and the beginnings of video. And, for that
> matter, with other nascent technologies and their shared tendencies. Camera
> tricks, formal inventiveness, actualities, etc.
>
> Also, while I've got you — I was thinking about the (perhaps apocryphal,
> cunningly Gunningly so) stories of genuine fears about the Lumière train's
> first projection and the stories of the outraged audience at an early
> showing of L'Age D'Or throwing ink at the screen in protest. Ink on the
> screen is a pretty amazing gesture (it is about to not go without saying
> that I am obviously staunchly in the camp of artists over reactionary
> right-wingers) even/especially with its scale of potency to poetry. Are
> there other related stories you'd like to share? Torn down screens? Shadow
> puppets between the projector and the screen? Well-deployed spoilers?
>
> *JM*
>
> --
> *// // // J E S S E  M A L M E D *
> 505.690.7899 // jesse.mal...@gmail.com // live to tape
> 
> jessemalmed.net  // deep leap
>  // nightingale 
> // trunk show  //
> projective verse  // bad at
> sports  // acre_tv
>  // western pole 
>
> *
> Trunk
> Show in Newcity
> ** /
> **JM on WDCB
> ** /**
> Live to Tape in the Reader
> 
> / **Trunk Show in the Chicago Reader
> 
> / JM in the Reader
> 
>  /
> Gapers Block
> 
> / South Side Weekly
>  / Chicago Tribune
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>
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Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___

[Jonathan Walley]

http://rhizome.org/editorial/2009/jan/07/setting-the-tome/ 


scroll to the bottom of the article for the diagram. 

I’ve heard tell of this work being produced more than once, and I’ve always 
wanted to try it myself (with a group of stalwart cinema students). 

JW

> On Jan 14, 2016, at 1:12 PM, Bernard Roddy  wrote:
> 
> I think this work by Tony mentioned by Fred is reproduced as a 
> diagram/instruction in:
> 
> W + B Hein : Dokumente 1967-1985, Fotos, Briefe, Texte.
> 
> 
> On Thu, Jan 14, 2016 at 12:47 AM, Cinema Project  > wrote:
> Jesse! 
> 
> In regards to "well-deployed spoilers," I might look into Maurice LeMaître's 
> "Le film est déjà commencé?" from 1952. It was a Lettrist film and supposed 
> staged provocation. There's some accounts/ info on it in Off-Screen Cinema by 
> Kaira M Cabañas. 
> 
> Might not be what you're looking for at all, but it's an interesting sort of 
> (delayed) response to those legendary "reactions." 
> 
> Mia Ferm
> 
> -- 
> Cinema Project
> www.cinemaproject.org 
> 971-266-0085 
> PO Box 5991 
> Portland, OR 97228
> 
> 
> On Wed, Jan 13, 2016 at 8:50 PM, Fred Camper  > wrote:
> Yes, that's right. Because it was positive film, a succession of black and 
> white rectangles appeared inside each other as with each new pass the 
> previous result was filmed. I believe it was around 40 minutes long. It was 
> really interesting; I had never seen anything like it before, and have not 
> since.
> 
> Fred Camper
> 
> 
> On 1/13/2016 11:32 PM, Gene Youngblood wrote:
>> I believe Tony Conrad did some kind of demonstration or performance of “film 
>> feedback” in which exposed 16mm film went immediately into a developing bath 
>> and was projected, and the projection was filmed and projected, and so on.  
>> No doubt someone on this list remembers that and can describe it properly. 
>> Also, for scholars of early video, in the current issue of Afterimage Robyn 
>> Farrell has an in-depth history of Gerry Schum’s “TV Gallery” and “Video 
>> Gallery” projects in Germany in the late sixties, which I only alluded to in 
>> passing in Expanded Cinema.
>> 
>> 
>>> On Jan 13, 2016, at 3:17 PM, robert harris >> > wrote:
>>> 
>>> The “early cinema/early video” query is a good one, one that I’ve not seen 
>>> explored with much rigor. 
>>> 
>>> Kleinhans’ question of “broadcast TV or portapak” is significant.
>>> 
>>> Early TV might have more in common with radio than with early film.
>>> 
>>> Early video (portapak) provoked, for some practitioners, sensibilities in 
>>> keeping with those of the Lumieres. 
>>> 
>>> The Lumiere camera was more like video than any other camera (including the 
>>> Edison version) as it was, like video, a capture and playback device (and 
>>> lab).
>>> 
>>> The promptness with which the Lumieres could playback their recordings (if 
>>> my film mythology serves me) is almost video-like (time was a little slower 
>>> in those days, so they say).
>>> 
>>>  Both early film and early video were made without post-production edits, 
>>> hence were finished in camera.
>>> 
>>>  Video’s instant feedback loop is an unequivocal distinction from film.
>>> 
>>> To give proper attention to all origin strains of video, you have to 
>>> consider camera-less, raster based work (Nam June Paik, Wolf Vostell and 
>>> others).
>>> 
>>> The “early cinema” equivalent might be the first people to mark on clear 
>>> leader, some Italian Futurists, Hans Richter, Man Ray etc.
>>> 
>>>  As to cultural “outrage”, it wasn’t uncommon for the people throwing 
>>> things at the artists and making big scenes to be the Surrealists 
>>> themselves.
>>> 
>>>  
>>> 
>>> Some worthy writing of early video (essays you should be able to easily 
>>> find): 
>>> 
>>> Hollis Frampton, The Withering Away of the State of the Art
>>> 
>>> David Antin, Video: The Distinctive Features of the Medium
>>> 
>>> 
>>> 
>>> 
>>> On Jan 13, 2016, at 2:46 AM, Chuck Kleinhans >> > wrote:
>>> 
 An answer depends on how “early” you’re talking about film (1890s? 
 later?), and about video (Broadcast TV or Portapak?).  Probably the most 
 significant common feature is the fixed camera position.
 
 The most significant difference (beyond the obvious one of resolution) is 
 shot duration.  Video (portpak on) allowed for remarkably long shots 
 compared to almost all film.
 
 If you (or anyone) can find it, Noel Burch’s film “Correction Please, or 
 How We Got Into Pictures” is a great explanation of the evolution of early 
 films' means and style, concentrating on how the audience was shaped by 
 the evolving formal elements of cinema.

Re: [Frameworks] Experimental Films on Farming/ Agriculture

[lagonaboba]

Taylor Dunne,  Corn Mother  (on vimeo)

Monteith McCollum’s work might be of interest (samples on Vimeo)

one of Andrew Noren’s lesser known films (I don’t know if he ever formally 
declared it to be a finished film, or part of a larger film) involved typically 
Noren-esque light bathed texture and color, of opium poppy fields in 
Afghanistan or Pakistan, men harvesting oozing latex.  Seen in 1971? at the old 
Mercer St. Kitchen. Noren’s footage of Panda bears in heat in the same show, 
though I guess that’s not agriculture.

If Sweetgrass is to be considered “avant-garde/experimental” there are many 
works.
Check with DER, under Agriculture; certainly not all, but a few titles are 
film-form smart.
http://www.der.org/films/index-by-subject.html#agri
Like Hillary Harris’ THE NUER.







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

> Any suggestions on avant-garde/experimental films that deal with any aspects 
> of farming/gardening/plant or animal agriculture?
> 
> A few examples might be Marjorie Keller's Answering Furrow or Lucien 
> Castaing-Taylor's Sweetgrass. Other ideas? 
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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[kate lain]

Cindy Stillwell's *Season on the Move*
Adele Horne's *In Common*

On Thu, Jan 14, 2016 at 9:50 AM, Heath Iverson 
wrote:

> Any suggestions on avant-garde/experimental films that deal with any
> aspects of farming/gardening/plant or animal agriculture?
>
> A few examples might be Marjorie Keller's *Answering Furrow *or Lucien
> Castaing-Taylor's *Sweetgrass. *Other ideas?
>
> ___
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>
>


-- 
kate lain
k...@katemakesfilms.com
626.644.5283
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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[Anderwald + Grond]

In the Garden, 2002, by Ute Aurand and Bärbel Freund
http://www.uteaurand.de/filme/im_garten.php
-
Ruth Anderwald + Leonhard Grond

++43 699 10984551
Schüttelstr. 21/14  
1020 Vienna
cont...@anderwald-grond.at
http://www.anderwald-grond.at
follow on twitter @anderwaldgrond
http://www.hasenherz.at

http://www.on-dizziness.org
When I came in I was confused, when I came out I was full of ideas. Eilean 
Hooper-Greenhills
Dizziness-A Resource FWF-PEEK AR-224

> Am 14.01.2016 um 18:50 schrieb Heath Iverson :
> 
> Any suggestions on avant-garde/experimental films that deal with any aspects 
> of farming/gardening/plant or animal agriculture?
> 
> A few examples might be Marjorie Keller's Answering Furrow or Lucien 
> Castaing-Taylor's Sweetgrass. Other ideas? 
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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[Christian Bruno]

Bill Basquin has a stunning trilogy of experimental docs shot on super8, 
meditations of sorts on masculinity and the agrarian world. Notably Martin, 
which focuses on a New Zealand sheepherder.

best
Christian

From: gencar...@gmail.com
Date: Thu, 14 Jan 2016 14:04:59 -0500
To: frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Experimental Films on Farming/ Agriculture

Dominique Benichetti's Cousin Jules (1972)

Also see films by Gu Tao (The Last Moose of Aoluguya) and Yu Guangyi (The Last 
Lumberjacks)

These might not be avant-garde, depending on your definition, but these are 
what first came to mind. 

DER's catalogue is a great resource! 

Best, 
Gen
--
Genevieve Carmel
On Thu, Jan 14, 2016 at 1:49 PM, lagonaboba  wrote:
Taylor Dunne,  Corn Mother  (on vimeo)
Monteith McCollum’s work might be of interest (samples on Vimeo)
one of Andrew Noren’s lesser known films (I don’t know if he ever formally 
declared it to be a finished film, or part of a larger film) involved typically 
Noren-esque light bathed texture and color, of opium poppy fields in 
Afghanistan or Pakistan, men harvesting oozing latex.  Seen in 1971? at the old 
Mercer St. Kitchen. Noren’s footage of Panda bears in heat in the same show, 
though I guess that’s not agriculture.

If Sweetgrass is to be considered “avant-garde/experimental” there are many 
works.Check with DER, under Agriculture; certainly not all, but a few titles 
are film-form smart.http://www.der.org/films/index-by-subject.html#agriLike 
Hillary Harris’ THE NUER.






On Jan 14, 2016, at 12:50 PM, Heath Iverson  wrote:
Any suggestions on avant-garde/experimental films that deal with any aspects of 
farming/gardening/plant or animal agriculture?

A few examples might be Marjorie Keller's Answering Furrow or Lucien 
Castaing-Taylor's Sweetgrass. Other ideas? 

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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[Dustin Zemel]

Marie Menken, Glimpse of the Garden (1957)
Pam Minty and Alain LeTourneau, Empty Quarter (2011)

Sent from my mobile device

> On Jan 14, 2016, at 3:08 PM, Christian Bruno  wrote:
> 
> Bill Basquin has a stunning trilogy of experimental docs shot on super8, 
> meditations of sorts on masculinity and the agrarian world. Notably Martin, 
> which focuses on a New Zealand sheepherder.
> 
> best
> Christian
> 
> From: gencar...@gmail.com
> Date: Thu, 14 Jan 2016 14:04:59 -0500
> To: frameworks@jonasmekasfilms.com
> Subject: Re: [Frameworks] Experimental Films on Farming/ Agriculture
> 
> Dominique Benichetti's Cousin Jules (1972)
> 
> Also see films by Gu Tao (The Last Moose of Aoluguya) and Yu Guangyi (The 
> Last Lumberjacks)
> 
> These might not be avant-garde, depending on your definition, but these are 
> what first came to mind. 
> 
> DER's catalogue is a great resource! 
> 
> Best, 
> Gen
> --
> Genevieve Carmel
> 
> On Thu, Jan 14, 2016 at 1:49 PM, lagonaboba  wrote:
> Taylor Dunne,  Corn Mother  (on vimeo)
> 
> Monteith McCollum’s work might be of interest (samples on Vimeo)
> 
> one of Andrew Noren’s lesser known films (I don’t know if he ever formally 
> declared it to be a finished film, or part of a larger film) involved 
> typically Noren-esque light bathed texture and color, of opium poppy fields 
> in Afghanistan or Pakistan, men harvesting oozing latex.  Seen in 1971? at 
> the old Mercer St. Kitchen. Noren’s footage of Panda bears in heat in the 
> same show, though I guess that’s not agriculture.
> 
> If Sweetgrass is to be considered “avant-garde/experimental” there are many 
> works.
> Check with DER, under Agriculture; certainly not all, but a few titles are 
> film-form smart.
> http://www.der.org/films/index-by-subject.html#agri
> Like Hillary Harris’ THE NUER.
> 
> 
> 
> 
> 
> 
> 
> On Jan 14, 2016, at 12:50 PM, Heath Iverson  wrote:
> 
> Any suggestions on avant-garde/experimental films that deal with any aspects 
> of farming/gardening/plant or animal agriculture?
> 
> A few examples might be Marjorie Keller's Answering Furrow or Lucien 
> Castaing-Taylor's Sweetgrass. Other ideas? 
> ___
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> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
> 
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> 
> 
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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[Pip Chodorov]

I wonder how many people know George "Yellow Submarine" Dunning's 
"Damon the Mower"?


But an obvious choice is Jonas Mekas' "Reminiscences on a Journey to 
Lithuania."






At 12:50 -0500 14/01/16, Heath Iverson wrote:
Any suggestions on avant-garde/experimental films that deal with any 
aspects of farming/gardening/plant or animal agriculture?

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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[Jason Halprin]

Naomi Uman's *Leche* (1998) and *Mala Leche *(2003)

Jason Halprin
jihalp...@gmail.com

>
>
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Re: [Frameworks] Experimental Films on Farming/ Agriculture

[robert harris]

Earth, Dovzhenko


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

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

[Genevieve Carmel]

Dominique Benichetti's *Cousin Jules *(1972)

Also see films by Gu Tao (*The Last Moose of Aoluguya*) and Yu Guangyi (*The
Last Lumberjacks*)

These might not be avant-garde, depending on your definition, but these are
what first came to mind.

DER's catalogue is a great resource!

Best,
Gen
--
Genevieve Carmel

On Thu, Jan 14, 2016 at 1:49 PM, lagonaboba  wrote:

> Taylor Dunne,  *Corn Mother  (*on vimeo)
>
> Monteith McCollum’s work might be of interest (samples on Vimeo)
>
> one of Andrew Noren’s lesser known films (I don’t know if he ever formally
> declared it to be a finished film, or part of a larger film) involved
> typically Noren-esque light bathed texture and color, of opium poppy fields
> in Afghanistan or Pakistan, men harvesting oozing latex.  Seen in 1971? at
> the old Mercer St. Kitchen. Noren’s footage of Panda bears in heat in the
> same show, though I guess that’s not agriculture.
>
> If *Sweetgrass *is to be considered “avant-garde/experimental” there are
> many works.
> Check with DER, under Agriculture; certainly not all, but a few titles are
> film-form smart.
> http://www.der.org/films/index-by-subject.html#agri
> Like Hillary Harris’ THE NUER.
>
>
>
>
>
>
>
> On Jan 14, 2016, at 12:50 PM, Heath Iverson 
> wrote:
>
> Any suggestions on avant-garde/experimental films that deal with any
> aspects of farming/gardening/plant or animal agriculture?
>
> A few examples might be Marjorie Keller's *Answering Furrow *or Lucien
> Castaing-Taylor's *Sweetgrass. *Other ideas?
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
>
> ___
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>
>
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