Re: [Frameworks] walking

[Anderwald + Grond]

Oh, My Foot Hurts, 1990, and I’m Going, 1973,(https://vimeo.com/192276716 
), both by Józef Robakowski



— — — — 
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> Am 03.05.2019 um 01:02 schrieb Scott MacDonald :
> 
> Hey Frameworkers,
> 
> A colleague is interested in films in which walking is a central formal 
> thread.
> 
> Do any of you have suggestions? 
> 
> Please contact me separately.
> 
> Scott
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Re: [Frameworks] walking

[Adam Sekuler]

Walking To Werner by Linas Phillips (2006)

On Thu, May 2, 2019 at 6:02 PM Scott MacDonald 
wrote:

> *Hey Frameworkers,*
>
> *A colleague is interested in films in which walking is a central formal
> thread.*
>
> *Do any of you have suggestions? *
>
> *Please contact me separately.*
>
> *Scott*
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>


-- 
Adam Sekuler
www.adamsekuler.com
www.tomorrowneverknowsfilm.com
612.229.3205
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[Frameworks] Fwd: Narratives of Copyright Play

[Bernard Roddy]

No wait, it was a 2013 publication. Ross Lipman was the writer and
archivist. It's very interesting given the aesthetics and technicalities of
preservation, with lines like: "The most fundamental sea change wrought by
the so-called digital revolution is the loss of the singular work." Lipman,
however, is particularly sensitive to Conner's conception of that work, and
it is Conner himself who complicated the process of fixing the identity of
this particular work.



-- Forwarded message -
From: Bernard Roddy 
Date: Thu, May 2, 2019 at 8:50 PM
Subject: Narratives of Copyright Play
To: 


Hey everyone:

I'm teaching a course in a computer science program in which I devote a
week to intellectual property. The use of found footage became more
interesting as a result of looking for cases with which to raise ethical
debate and present new terms of analysis.

In a slight departure from the expected narrative of the ethical dilemma
faced in employment circumstances by the computer programmer or data
analyst (security analysis seems to be the major to go wtih), I looking at
a 2003 text from Artforum on the preservation of a film by Bruce Conner
(Crossroads, 1976). Has anyone seen this film?

But also, are there other such sources that anyone can think of for this
kind of discussion? I am thinking of the whole matter of engaging a court
system but in terms that are sympathetic with moving image artistic
practice.

Bernie
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[Frameworks] Narratives of Copyright Play

[Bernard Roddy]

Hey everyone:

I'm teaching a course in a computer science program in which I devote a
week to intellectual property. The use of found footage became more
interesting as a result of looking for cases with which to raise ethical
debate and present new terms of analysis.

In a slight departure from the expected narrative of the ethical dilemma
faced in employment circumstances by the computer programmer or data
analyst (security analysis seems to be the major to go wtih), I looking at
a 2003 text from Artforum on the preservation of a film by Bruce Conner
(Crossroads, 1976). Has anyone seen this film?

But also, are there other such sources that anyone can think of for this
kind of discussion? I am thinking of the whole matter of engaging a court
system but in terms that are sympathetic with moving image artistic
practice.

Bernie
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[Frameworks] walking

[Scott MacDonald]

*Hey Frameworkers,*

*A colleague is interested in films in which walking is a central formal
thread.*

*Do any of you have suggestions? *

*Please contact me separately.*

*Scott*
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Re: [Frameworks] Kodachrome

[Nicole Baker]

I gotta say, the more I learn about photographic chemistry, the more I am
saddened that it has become such a rare, niche activity.  There's really
nothing else like it.

Nicole Elaine Baker
MFA in Visual Studies, 2019
Pacific Northwest College of Art
Hallie Ford School of Graduate Studies
*www.magiklantern.com *




On Wed, May 1, 2019 at 7:25 AM Scott Dorsey  wrote:

> > So, just for the fun of it let me ask, what happens if you process
> > kodachrome in C41 chemistry? Anything? Mud?
>
> Nothing, because all the cool stuff in C41 is in the film rather than in
> the processing.
>
> Each layer of C41 has the color dyes and couplers already in there with the
> silver halides and the sensitizing dyes.  On the top is the blue layer
> with no sensitizing dyes, then there is a deeply dyed yellow filter layer
> to block out all blue, then there are layers below sensitive to red and
> green.  The red and green layers are -also- unfortunately sensitive to
> blue (as natural halides are) so that yellow filter prevents them from
> getting them exposed by blue light.  It's not perfect and it doesn't block
> UV effectively, which is why occasionally pink flowers would photograph as
> blue on older Kodacolor emulsions.
>
> Anyway... so you expose the film and each of the layers gets a latent image
> appropriate to the color it's sensitized to, and you send it to the lab.
> It's first developed in an ordinary B developer to develop silver images,
> then a color developer connects the color dyes up to the silver.  The
> excess color dyes are removed in a clearing bath, the silver is bleached
> out,
> the dyes are stabilized, any residual silver is fixed just for stability,
> and the lights are turned on.
>
> Initially in the C-22 days these were done with multiple baths, but these
> days some kits have it down to just a developer/color developer and a
> blix.  Modern developing kits also do things like having multiple
> developers
> with different temperature sensitivities which compensate for one another,
> so you don't need the high precision water baths that you did when C-41
> first came out.
>
> One of the nice things have having split bleach and fix is that you can
> eliminate the bleach in order to leave a B image on top of the color dye
> image.  This gives you much lower saturation but about a stop greater
> sensitivity.  It's a useful effect to lower saturation but it was also used
> by press photographers in the seventies to get an extra stop out of the
> film.
>
> So... if you run B film through C-41... you get a B image... then it
> bleaches it away and you get a roll of blank film.  The color dyes don't
> get attached because they aren't there.  Same thing happens if you were
> to run Kodachrome or Agfacolor films through the C-41 machine.
>
> E-6 is a special case because the E-6 dye coupler chemistry is very similar
> to that of C-41 and they use the same color developing agent.  So you can
> cross process C-41 in E-6 chemistry and vice-versa and get an image, though
> your color rendition won't be anything approaching accurate.
> --scott
>
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Re: [Frameworks] Film Festival Blues

[Salise Hughes]

It seems to be clear there is more good work being submitted than any
festival can handle. It would be great if there was a way of stretching out
the festival model into monthly or weekly  programing. Something along the
lines of Craig Balwin's Other Cinema that has a season. As for funding,
EXcinema in Seattle received a modest grant to pay filmmakers screening
fees. We were given the grant because we stressed in the proposal how
difficult it is for filmmakers to be paid these fees. I think most grant
organizations would gladly give funds to directly support filmmakers if the
situation was explained to them.

On Thu, May 2, 2019 at 4:27 AM Michael Betancourt <
hinterland.mov...@gmail.com> wrote:

> I agree about the prescreening process, even if there aren't thousands of
> entries . I spoke with the organizer of a show a few years ago who asked
> why I hadn't submitted--and he was surprised to learn that I had, but the
> prescreeners had simply rejected my work. I get the feeling thiis happens a
> lot, especially since my work is digital and incorporates errors. Its
> disheartening to say the least.
>
> Michael
>
> Sent from my phone so appologies for any typos!
>
> On May 1, 2019, at 1:59 PM, Dominic Angerame 
> wrote:
>
> I do not think the competitive nature of festivals in the problem. It is
> definitely with the PRE SCREENING process. I have sat as a judge for the
> Experimental Category (New Visions) at the SF Int’l Film Festival. After
> viewing all of the work approved by the prescreens I request a list of all
> of the entries and filmmakers. I found four important and well known
> filmmaker’s work on this rejected list.
>
> I requested that the judges see these works and all of them were shown at
> the Festival and won achieved an award.
>
> Prescreens are often not qualified to watch experimental work often they
> have no idea what that genre is. Pre screening has been a problem with
> festivals for decades and this process should be re evaluated by Festival
> Directors and Organizations.
>
> D
>
> On May 1, 2019, at 10:25 AM, Dante Fresse  wrote:
>
> Film festival proliferation is a good thing for me, but focusing on the
> next time increase in my opinion isn’t the right thing to do. As a young
> filmmaker I find competitive process of selecting to be an opportunity for
> growth and scarcity in this industry and that is an excellent way to learn
> how to use opportunities where you can get a chance to talk to succeeding
> artists.
>
> What do y’all think about this?
>
> On Tue, Apr 30, 2019 at 5:11 PM Dominic Angerame <
> dominic.anger...@gmail.com> wrote:
>
>> Every film festival is telling me that they have received record number
>> of entries from hundreds to thousands. If entries are increasing should not
>> the scope and duration of the festivals increase to accommodate the record
>> numbers. Increased entries also mean increased income to the festivals.
>>
>> A question to the community
>>
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>>
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>
>
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>
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>


-- 
Salise Hughes
Artist, Filmmaker, Armchair Anthropologist

http://salisehughes.blogspot.com
https://vimeo.com/user1421998
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Re: [Frameworks] Film Festival Blues

[Michael Betancourt]

I agree about the prescreening process, even if there aren't thousands of 
entries . I spoke with the organizer of a show a few years ago who asked why I 
hadn't submitted--and he was surprised to learn that I had, but the 
prescreeners had simply rejected my work. I get the feeling thiis happens a 
lot, especially since my work is digital and incorporates errors. Its 
disheartening to say the least.

Michael

Sent from my phone so appologies for any typos!

> On May 1, 2019, at 1:59 PM, Dominic Angerame  
> wrote:
> 
> I do not think the competitive nature of festivals in the problem. It is 
> definitely with the PRE SCREENING process. I have sat as a judge for the 
> Experimental Category (New Visions) at the SF Int’l Film Festival. After 
> viewing all of the work approved by the prescreens I request a list of all of 
> the entries and filmmakers. I found four important and well known filmmaker’s 
> work on this rejected list.
> 
> I requested that the judges see these works and all of them were shown at the 
> Festival and won achieved an award.
> 
> Prescreens are often not qualified to watch experimental work often they have 
> no idea what that genre is. Pre screening has been a problem with festivals 
> for decades and this process should be re evaluated by Festival Directors and 
> Organizations.
> 
> D
> 
>> On May 1, 2019, at 10:25 AM, Dante Fresse  wrote:
>> 
>> Film festival proliferation is a good thing for me, but focusing on the next 
>> time increase in my opinion isn’t the right thing to do. As a young 
>> filmmaker I find competitive process of selecting to be an opportunity for 
>> growth and scarcity in this industry and that is an excellent way to learn 
>> how to use opportunities where you can get a chance to talk to succeeding 
>> artists.
>> 
>> What do y’all think about this?
>> 
>>> On Tue, Apr 30, 2019 at 5:11 PM Dominic Angerame 
>>>  wrote:
>>> Every film festival is telling me that they have received record number of 
>>> entries from hundreds to thousands. If entries are increasing should not 
>>> the scope and duration of the festivals increase to accommodate the record 
>>> numbers. Increased entries also mean increased income to the festivals. 
>>> 
>>> A question to the community
>>> 
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> ___
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>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
> 
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Re: [Frameworks] Film Festival Blues

[Will Erokan]

Hello Adam,
A PEG Channel is a public access channel.. PEG Refers to Public,
Educational, Government.

As for whether or not we pay filmmakers to show their work.. we do not.

On Wed, May 1, 2019 at 10:19 AM Adam Hyman  wrote:

> Do you pay filmmakers when you screen their work?
> And what is a PEG Channel, please?
>
> Best regards,
>
> Adam
>
> From: FrameWorks  on behalf of
> Will Erokan 
> Reply-To: "Experimental Film Discussion List <
> frameworks@jonasmekasfilms.com>" 
> Date: Tuesday, April 30, 2019 at 11:24 PM
> To: "Experimental Film Discussion List " <
> frameworks@jonasmekasfilms.com>
> Subject: Re: [Frameworks] Film Festival Blues
>
> I run an experimental cable access show called Here Comes Everybody. We
> screen in a number of cities* across the US, and we don't have submission
> fees.
> Please, do not hesitate to submit work.. Due to time restrictions we'd
> have a hard time screening anything longer than 28 minutes, ideally we're
> looking for pieces 0-10 minutes in length.
> You can find our episodes archived on youtube here..
> https://www.youtube.com/playlist?list=PLyP_qMpFYsPugsG0t_wnH64OV3LmQYmlj
> Send your links to hcet...@gmail.com
>
> Likewise, if you're connected to a PEG channel and you'd like to run our
> show.. Please let me know and I can start delivering episodes immediately.
>
> -will erokan
>
> *We broadcast regularly in Los Angeles, Portland OR, Waukegan IL, North
> Liberty IA, Ithaca NY, etc
>
> On Tue, Apr 30, 2019 at 10:22 PM Adam Hyman  wrote:
>
>> Yes, thank you.  That is what I was asking.
>> We just had a great discussion about this at a panel of
>> programmers/directors at Experiments in Cinema.
>> In the US, there generally is not much government money on any level to
>> support film festivals, let alone their prizes.  Thus, to compare a
>> European festival to a US one is not so simple when it comes to funding,
>> submission fees, awards, etc.
>>
>> Mind you, I don’t run a festival, but a weekly screening series, but back
>> to Dominic’s original question, it is dependent on finding facilities,
>> people, audiences, and money to make a festival longer.  Most people I know
>> who run festivals are burned out after their current durations, so making
>> it longer isn’t physically feasible.  Attendees also burn out.  Theaters
>> want to get back to their regular programming.  Volunteers need to return
>> to paying jobs.  It seems like most US festivals have a tough time raising
>> enough money to put on the festivals that they currently have.  Even with
>> submission fees increasing with the number of submissions (and it’s
>> debatable whether those are proper anyway), that isn’t enough for all the
>> requirements of a festival.
>>
>> Best regards,
>>
>> Adam
>>
>>
>>
>> From: FrameWorks  on behalf of
>> Marcin Gizycki 
>> Reply-To: "Experimental Film Discussion List <
>> frameworks@jonasmekasfilms.com>" 
>> Date: Tuesday, April 30, 2019 at 8:54 PM
>> To: "Experimental Film Discussion List "
>> 
>> Subject: Re: [Frameworks] Film Festival Blues
>>
>> Adam,
>>
>> Are you asking where the money for our awards comes from? Mostly from the
>> city of Poznan. Also from the Polish Film Institute and other public
>> institutions.
>>
>> Best,
>>
>> Marcin
>>
>>
>>
>> *From:* FrameWorks  *On Behalf
>> Of *Adam Hyman
>> *Sent:* Tuesday, April 30, 2019 11:38 PM
>> *To:* Experimental Film Discussion List 
>> 
>> *Subject:* Re: [Frameworks] Film Festival Blues
>>
>>
>>
>> Paid for by whom?
>>
>>
>>
>> Best,
>>
>>
>>
>> Adam
>>
>>
>>
>> *From: *FrameWorks  on behalf of
>> Marcin Gizycki 
>> *Reply-To: *"Experimental Film Discussion List <
>> frameworks@jonasmekasfilms.com>" 
>> *Date: *Tuesday, April 30, 2019 at 5:43 PM
>> *To: *"Experimental Film Discussion List "
>> 
>> *Subject: *Re: [Frameworks] Film Festival Blues
>>
>>
>>
>> Ok., Tim,
>>
>> I understand. One correction to my previous email. The Grand Prix at
>> Animator equals $15,000.
>>
>> Best,
>>
>> Marcin
>>
>>
>>
>> *From:* FrameWorks  *On Behalf
>> Of *Dimitrije Martinovic
>> *Sent:* Tuesday, April 30, 2019 8:39 PM
>> *To:* Experimental Film Discussion List 
>> *Subject:* Re: [Frameworks] Film Festival Blues
>>
>>
>>
>> I agree with you, DIY-start your own screenings,  I would love to
>> collaborator with anyone interested in trying this one.
>>
>>
>>
>> On Tue, Apr 30, 2019 at 8:06 PM Tim Halloran 
>> wrote:
>>
>> Marcin, why did you assume I was being sarcastic? I was quite serious.
>> Just saying we should stop crying about it and reimagine the whole festival
>> paradigm. DIY.
>>
>>
>>
>> Tim
>>
>> Sent from my iPhone
>>
>>
>> On Apr 30, 2019, at 4:37 PM, Marcin Gizycki  wrote:
>>
>> Tim, sarcasm is not necessary here. I started such a festival long time
>> ago: Animator in Poznan, Poland. We do not charge any fee and the Grad Prix
>> equals $1500 thousand dollars.
>>
>> Yours,
>>
>> Marcin
>>
>>
>>
>> *From:* FrameWorks  *On Behalf
>> Of *Chris Lange
>> *Sent:* Tuesday, April 30, 2019 7:27 PM
>> *To:* Experimental