Re: [Frameworks] Films or videos with one person playing all the parts

[alena williams]

these are my favorites:

https://melhus.de/das-zauberglas-the-magic-glass/

https://melhus.de/again-and-again/

> On 24. Jun 2020, at 01:15, kris  wrote:
> 
> Hi all,
> 
> 
> BJOERN MELHUS makes these films where he often uses an original score or
> dialog and re enacts all the speaking roles.
> 
> https://melhus.de
> 
> https://melhus.de/im-not-the-enemy/
> 
> best, kris
> 
> 
> -- 
> www.krislimbach.com
> 
>> On 23.06.20 23:21, Joel Schlemowitz wrote:
>> Hi all,
>> 
>> A question relating to students creating videos with limited access to
>> other people due to the COVID-19 situation. . . . Looking for examples
>> of films or videos with one person playing all the parts.
>> 
>> There are video works by ASM Kobayashi and in Maya Deren in "Meshes of
>> the Afternoon" there are multiple versions of the protagonist created
>> through editing. But does anyone know of other interesting works where
>> someone playing all the parts has a dialogue with "themselves," so to speak?
>> 
>> Best,
>> Joel
>> 
>> ~~
>> https://www.joelschlemowitz.com 
>> 
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Re: [Frameworks] Free junk film

[alena williams]

Dear Rick,
I would be interested!
With best wishes,
Alena

> On 28. Apr 2020, at 17:00, Rick Prelinger  wrote:
> 
> If anybody would like junk film (mostly 16mm) in large quantities, please 
> let me know. Every so often we have a lot of material to give away — old 
> workprints, outtakes, tracks, leader, release prints, etc. This isn’t an 
> immediate offer because of the pandemic, but it’s ongoing.
> 
> Rick
> 
> 
> 
> Rick Prelinger / @footage
> Prelinger Archives, San Franciscohttp://www.prelinger.com (recently 
> updated)
> foot...@panix.com
> 
> Professor, Film & Digital Media, UC Santa Cruz
> r...@ucsc.edu
> 
> Prelinger Library, San Francisco (http://www.prelingerlibrary.org), a member 
> of the Intersection Incubator, a program of Intersection for the Arts 
> providing fiscal sponsorship, incubation and consulting to artists 
> (http://www.theintersection.org). 
> 
> 
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Re: [Frameworks] X-Ray motion-pictures

[alena williams]

love this!

> On 20. Nov 2019, at 07:53, Scott Dorsey  wrote:
> 
> Okay, old guy tells stories.
> 
> 
> Back in the twenties and thirties, doctors would employ open fluoroscopes,
> with an X-ray source behind the patient and a fluorescent screen in front
> of them.  X-rays passing through the patient would cause the screen to 
> illuminate and the doctor could see what was going on inside in realtime.
> 
> Many of the old classic sequences that still show up in educational films
> such as the man eating and man voicing different vowels and consonants,
> were shot off the screen of an open fluoroscope.
> 
> This approach has some problems namely it takes a lot of radiation to
> get a nice bright image, and all of that radiation (not just the backscatter)
> is pointed at the doctor.  So although you can see open fluoroscopes in old
> movies where W.C. Fields has swallowed his cigar, you will not see them in
> use today.
> 
> Because doctors needed to see movement and didn't want to irradiate themselves
> constantly, a number of manufacturers made cinefluoroscope systems with a 
> Mitchell or Acme 35mm pin-registered camera movement, a very fast lens,
> and a fluorescent screen all in one package.  The high speed Leitz Noctilux
> lenses were originally designed for these applications.
> 
> These were in common use for heart imaging until maybe a decade ago, and
> if you are looking for a film image you may be able to find cardiological
> radiologists around with a film cineangography system.  These systems all
> provide full aperture 35mm images.  So if you want 16mm you'd have to get
> the lab to bump it down.
> 
> All of these systems today have been replaced with high resolution video
> systems.  The nice thing about the video systems is that they result in
> less radiation to the patient because the light sensor is faster than Tri-X.
> These systems are small and convenient enough that some cardiologists will
> have their own system rather than contracting it out to a radiologist.
> The bad thing about them is that they tend to have more smear on motion
> than the film systems because of the longer persistence phosphors.
> 
> Now... if you don't need to deal with human beings, you can pour a whole
> lot more radiation into the object.  There are a bunch of fairly inexpensive
> X-ray inspection systems for PC boards that give you realtime video with
> decent resolution.  Not very high energy radiation since they just need to
> be looking at thin board traces for the most part.
> 
> So... if I were looking to rent some time on a machine, I would ask a 
> cardiologist if they could recommend a local radiology guy, or I would
> talk to PC board fab people, depending on whether I was looking at people
> or objects.  I have only done static x-rays, not moving ones, and there
> aren't a lot of folks doing moving ones artistically today so it could be
> really cool.
> --scott
> 
> 
> lens was originally designed 
> 
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Re: [Frameworks] suggestions on travelogue and/or road films by women filmmakers?

[alena williams]

Nancy Holt, Pine Barrens, 1974

Nancy Holt (in collaboration with Smithson/Heizer), Mono Lake, 

Amy Reid, Long Haulers, 2018
http://amyreidart.com/index.php?/2016/long-haulers/


> On 19. Oct 2019, at 08:54, Tara  wrote:
> 
> Niagara Falls by Anne Charlotte Robertson
> 
>> On Oct 19, 2019, at 8:42 AM, Georg Koszulinski  wrote:
>> 
>> Hi, Kornelia,
>> 
>> Here's a recent film that fits the bill:
>> 
>> Driving Dinosaurs (Emma Piper-Burket, 2019)
>> An 89 year old marketing gimmick subliminally resurfaces on a lonely road in 
>> the American west.
>> 
>> 
>>> On Sat, Oct 19, 2019 at 4:03 AM Aman Wadhan  wrote:
>>> Double-Blind
>>> by Sophie Calle and Gregory Shephard
>>> 1992, 75 min.
>>> 
>>> An autobiographical meta-fiction about the meaning of love with two 
>>> unreliable narrators on the road in their Cadillac.
>>> 
>>> 
>>> 
 On Sat, 19 Oct 2019, 04:35 Fred Camper,  wrote:
 Even though I usually gripe about questions like this, I have to answer 
 this one, because a film that i deeply love is missing, Joyce Wieland's La 
 Raison Avant la Passion.
 
 https://www.chicagoreader.com/chicago/reason-over-passion/Film?oid=1055619
 
 Fred Camper
 Chicago
 
 
> On 10/18/2019 9:58 PM, Kornelia Boczkowska wrote:
> Hi all,
> 
> I'm looking for travelogue and/or road films made by women filmmakers in 
> connection with my postdoctoral project on avant-garde and experimental 
> film (no UMO-2018/31/D/HS2/01553).
> 
> So far I've been able to track down several works, incl. those mentioned 
> in response to Bryan Konefsky's question on experimental road movies, but 
> I'm sure there are many more that I'm not aware of. Any thoughts? I'd be 
> grateful for any suggestions, also on films that embrace non-mechanical 
> means of transportation and revision the concept of mobility - as implied 
> by the broad definition of the aforementioned genres. I'm pasting some 
> exemplary titles below to give you an idea what I'm looking for. 
> 
> Thanks and all best,
> 
> Kornelia
> 
>  
> 
> Portland (1996) by Greta Snider
> 
> You and I Remain (2015) by Kate McCabe
> 
> On The Line (2010) by Cathy Lee Crane
> 
> Cayuga Run (1967) and September Express (1973) by Storm De Hirsch
> 
> Light Years (1987) by Gunvor Nelson
> 
> Roundtrip (2013) by Caroline Blai
> 
> The Spaces Between Cities (2015) by Salise Hughes
> 
> Flower Fields (1974) and Secrets from the Street: No Disclosure (1980) by 
> Martha Rosler
> 
> Rules of the Road (1993) by Su Friedrich
> 
> There? Where? (1979) by Babette Mangolte
> 
> -- 
> Kornelia Boczkowska, Ph.D.
> Department of Studies in Culture
> Faculty of English
> Adam Mickiewicz University in Poznań
> http://wa.amu.edu.pl/wa/boczkowska_kornelia
> https://orcid.org/-0003-0875-9209
> 
> 
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>> 
>> -- 
>> www.substreamfilms.com
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Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations

[alena williams]

dear john,

i would recommend: 

adrià julià, popcorn (2012), 90min

a feature length film capturing the eventual popping of a single kernel of 
corn... stunning

with best wishes,
alena

> On 23.05.2017, at 03:13, John Muse  wrote:
> 
> Hive mind!  I’m beginning research on moving image media works that couple 
> and complicate the relations between the following events, with an emphasis 
> on the time they take: the time-of-the-profilmic-event, the 
> time-of-the-recording-apparatus, the time-of-the-assembly-protocols, the 
> time-of-the-display-apparatus, and the time-of-the-viewing-experience.  
> 
> A mouthful, I know!  But these events are relatively autonomous, as we know, 
> and ubiquitously so.  Time lapse, slow motion, closed-circuit works and delay 
> systems, and even the simplest continuity edit, which purports to build a 
> single event for the viewer out of disparate events before the camera, 
> partake of this trouble.  But I’m looking for works that critically 
> investigate and exploit these relations.  Man with the Movie Camera, of 
> course and as usual, made all of these features explicit through 
> undercranking, overcranking, animation, jumpcuts, cross-cutting times and 
> spaces, superimpositions, split-screens, and the use of the movie house 
> itself.  
> 
> So many other works from the tradition of experimental film to consider.  
> Things I already love: Ernie Gehr’s Serene Velocity, Nancy Holt’s Boomerang, 
> and Ken Jacob’s Tom Tom and his Nervous Magic Lantern performances.  From the 
> conceptual media side of the aisle: Bruce Nauman’s Live-Taped Video Corridor, 
> Dan Graham’s tape delay works, Douglas Gordon’s 24 Hour Psycho, and many of 
> David Claerbout’s works.   
> 
> Help please!  I’m looking for other canonical materials, especially expanded 
> cinema works, and more contemporary efforts, ones that split these relations 
> even further: between image capture and image playback, there is processing, 
> whether optical and analog or digital: compression schemes, datamoshing, and 
> spline morphing, i.e., "bullet time" and other interpolation protocols.
> 
> Comments and clarifying questions appreciated.   
> 
> j/PrM
> 
> *
> 
> john muse
> visual media scholar
> haverford college
> he/him/his
> http://www.finleymuse.com
> http://www.haverford.edu/faculty/jmuse
> http://haverford.academia.edu/JohnMuse
> 
> *
> 
> 
> 
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Re: [Frameworks] "Husbands" and "Wives"

[alena williams]

snow and wieland

> On 11.02.2017, at 08:18, James Hansen  wrote:
> 
> Erin Espelie and David Gatten
> Basma Alsharif and Ben Russell
> 
> 
>> On Sat, Feb 11, 2017 at 7:00 AM,  
>> wrote:
>> Send FrameWorks mailing list submissions to
>> frameworks@jonasmekasfilms.com
>> 
>> To subscribe or unsubscribe via the World Wide Web, visit
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> or, via email, send a message with subject or body 'help' to
>> frameworks-requ...@jonasmekasfilms.com
>> 
>> You can reach the person managing the list at
>> frameworks-ow...@jonasmekasfilms.com
>> 
>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of FrameWorks digest..."
>> 
>> Today's Topics:
>> 
>>1. "Husbands" and "Wives" (minou norouzi)
>>2. Re: "Husbands" and "Wives" (kitbasq...@aol.com)
>>3. Re: "Husbands" and "Wives" (George, Sherman)
>>4. Documentary and Community Media (Visiting Position at The
>>   Evergreen State College) (Ruth Hayes)
>>5. Re: "Husbands" and "Wives" (Albert Alcoz)
>>6. Re: "Husbands" and "Wives" (Andy Ditzler)
>>7. Re: "Husbands" and "Wives" (Pip Chodorov)
>>8. Re: "Husbands" and "Wives" (Blanca García)
>>9. Gianikian Lucchi DVDs (Justin Mackenzie)
>>   10. Re: Gianikian Lucchi DVDs (analogica festival)
>>   11. Re: "Husbands" and "Wives" (Elena Duque)
>>   12. Re: "Husbands" and "Wives" (Scott MacDonald)
>>   13. Re: "Husbands" and "Wives" (Pip Chodorov)
>>   14. Re: "Husbands" and "Wives" (John MacKay)
>>   15. Re: "Husbands" and "Wives" (Jonathan Walley)
>>   16. Re: "Husbands" and "Wives" (Rob Gawthrop)
>>   17. Re: "Husbands" and "Wives" (Els van Riel)
>>   18. Re: "Husbands" and "Wives" (Els van Riel)
>>   19. Re: "Husbands" and "Wives" (Gene Youngblood)
>>   20. Re: "Husbands" and "Wives" (Gene Youngblood)
>>   21. Re: "Husbands" and "Wives" (Justin Mackenzie)
>>   22. Re: "Husbands" and "Wives" (Albert Alcoz)
>> 
>> 
>> -- Forwarded message --
>> From: minou norouzi 
>> To: frameworks@jonasmekasfilms.com
>> Cc: 
>> Date: Fri, 10 Feb 2017 15:59:01 +
>> Subject: [Frameworks] "Husbands" and "Wives"
>> Dear Frameworkers,
>> 
>> I'm doing some research on filmmaking couples and wondered if you could help?
>> 
>> Am looking to identify filmmakers who are in relationships with other 
>> filmmakers, or those have been in the past, and where their individual works 
>> are distinct and separate from each other, rather than outright 
>> collaborations (if that makes sense). This, within the artist's film, 
>> artist-made film, experimental film genre. 
>> The pairings I'm looking to identify need not be heterosexual pairings; very 
>> open to historical suggestions as well. They just both need to have made a 
>> significant number of films of their own.
>> 
>> Look forward to hearing your suggestions - very many thanks in advance!
>> Minou 
>> 
>> 
>> minounorouzi.com
>> sheffieldfringe.com
>> 
>> 
>> -- Forwarded message --
>> From: kitbasq...@aol.com
>> To: frameworks@jonasmekasfilms.com
>> Cc: 
>> Date: Fri, 10 Feb 2017 11:14:15 -0500
>> Subject: Re: [Frameworks] "Husbands" and "Wives"
>> Experimental filmmaker Mary Ellen Bute made films with her husband, Ted 
>> Nemeth, a cinematographer, who also filmed work for other directors. i am 
>> not sure if this is the kind of combination you are looking for. Kit 
>> 
>> 
>> -Original Message-
>> From: minou norouzi 
>> To: frameworks 
>> Sent: Fri, Feb 10, 2017 11:00 am
>> Subject: [Frameworks] "Husbands" and "Wives"
>> 
>> Dear Frameworkers,
>> 
>> I'm doing some research on filmmaking couples and wondered if you could help?
>> 
>> Am looking to identify filmmakers who are in relationships with other 
>> filmmakers, or those have been in the past, and where their individual works 
>> are distinct and separate from each other, rather than outright 
>> collaborations (if that makes sense). This, within the artist's film, 
>> artist-made film, experimental film genre. 
>> The pairings I'm looking to identify need not be heterosexual pairings; very 
>> open to historical suggestions as well. They just both need to have made a 
>> significant number of films of their own.
>> 
>> Look forward to hearing your suggestions - very many thanks in advance!
>> Minou 
>> 
>> 
>> minounorouzi.com
>> sheffieldfringe.com
>> ___ FrameWorks mailing list 
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>> 
> 
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Re: [Frameworks] "Husbands" and "Wives"

[alena williams]

smithson and holt-- in particular, their sculptural work (and some films and 
videos) are distinct but they have collaborated on a couple of films and tapes 
too

müller and girardet are not a couple, but do collaborate quite often on film; 
however they have many distinct works of their own

> On 11.02.2017, at 02:49, Albert Alcoz  wrote:
> 
> The initial purpose was identifying:
> "filmmakers who are in relationships with other filmmakers (...) where their 
> individual works are distinct and separate from each other"
> 
> Faith and John Hubley wouldn't fit there, but Lynne Sachs and Mark Street 
> would.
> Some of the names mentioned above work together as a team...
> 
> 
> 
>> On Sat, Feb 11, 2017 at 4:08 AM, Justin Mackenzie  
>> wrote:
>> Maartje Seyferth and Victor nieuwenhuijs
>> 
>> On 11 Feb 2017, at 01:09, "Gene Youngblood"  wrote:
>> 
>>> Carolee Schneeman and James Tenney.
>>> 
>>> 
 On February 10, 2017 at 4:34:45 PM, Els van Riel (m...@elsvanriel.be) 
 wrote:
 
 Anja Dornieden & Juan David Gonzalez Monroy
 
 
 On 10 Feb 2017, at 22:18, Jonathan Walley  wrote:
 
 Anthony McCall & Carolee Scheemann
 Sandra Gibson & Luis Recoder
 Jordan Belson & Jane Conger Belson Shimane
 Wilhelm & Birgit Hein
 Tony Conrad & Beverly Grant/Conrad
 Ken & Flo Jacobs
 Charles & Ray Eames
 
 
 
 Dr. Jonathan Walley
 Associate Professor and Chair
 Department of Cinema
 Denison University
 wall...@denison.edu
 
 
 
> On Feb 10, 2017, at 3:55 PM, John MacKay  wrote:
> 
> Vertov and Svilova!
> 
> Sent from my iPhone
> 
>> On Feb 10, 2017, at 3:26 PM, Pip Chodorov  wrote:
>> 
>> Sorry I forgot
>> Alexander Alexeieff and Claire Parker
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> 
> 
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> http://albertalcoz.com/
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Re: [Frameworks] Werner Nekes

[alena williams]

thanks everyone for the notification--- i was just talking about him in my
lecture to students last week
i never knew that little museum in mülheim an der ruhr with the camera
obscura was once due to buy his collection, but when the director died the
city went another direction
http://www.monopol-magazin.de/der-zauber-der-bilder

On Tue, Jan 24, 2017 at 8:26 AM, Sandra Naumann 
wrote:

> I have just checked and can confirm that it is in the German press. It
> says that the news of his death came out from his private sphere.
> For all German speakers here some links:
> http://www.spiegel.de/kultur/kino/werner-nekes-regisseur-
> von-johnny-flash-ist-tot-a-1131347.html
> http://www.monopol-magazin.de/werner-nekes-gestorben
> http://www.tagesspiegel.de/kultur/nachruf-auf-werner-
> nekes-der-ruhr-homer/19297894.html
>
> Am 24.01.2017 um 16:37 schrieb Pip Chodorov :
>
> I have just heard that Werner Nekes passed away.
> I don't have confirmation yet but it's in the German press.
> Important filmmaker and great collector of optical toys and art and
> pre-cinema devices.
> Please do post if anyone has more information!
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Re: [Frameworks] Films on Gold and Gold Mining

[alena williams]

dear jana,

this project might be of interest. if you need contact information, feel
free to reach me off-list.

with best wishes,
alena


*Unearthing Disaster I* (2013)
(first shown as Corridor X: Postscript to an Unfinished Journey)
2-channel HD video, 36min.
Angela Anderson and Angela Melitopoulos
About the struggle against the construction of an open-pit gold mine in
Northeastern Greece. Commissioned by the Berliner Herbstsalon (curated by
Shermin Langhoff), Gorki Theater, Berlin.

*Unearthing Disaster II* (2015)
Single channel 4K video, 26min.
Angela Anderson and Angela Melitopoulos
On the disastrous environmental impacts of the construction of an open-pit
gold mine in Northeastern Greece. Commissioned by the 5 Thessaloniki
Biennale: Between the Pessimism of the Intellect and the Optimism of the
Will, curated by Katerina Gregos (June 23 –Sep 30, 2015).

http://www.apubliclibrary.org/event/unearthing-disaster/

"Unearthing disaster" is a visual research project by Angela Anderson and
Angela Melitopoulos focusing on the large-scale open pit gold mine in the
forest of Skouries in Halkidiki, Northern Greece, and the ongoing
anti-mining protest movements in the area, which together form a very
complex example of contemporary “disaster capitalism.”

Since 2011, when a Canadian mining company received state approval for the
construction of the open-pit mine and processing plant, as part of Greece’s
“fast track” investment program enabling the accelerated and barrier-free
licensing of large scale private investment projects, local communities
have intensified their struggle against what they see as an ecological
catastrophe and a threat to their own existence.

Unearthing disaster is not only about the dirty business of gold mining,
but implies a catastrophe on different levels: the loss of memory, the loss
of expression, and the violent calculated and destructive speed of a
disaster capitalism that literally pulverizes the natural and cultural
environment.

This unearthing disaster is put into motion as monstrous shareholder profit
machinery; an assault that turns a beautiful and pristine environment into
something that can no longer be recognized as an environment. Not
recognizing the land you live in means not knowing how to relate to it. So
in Halkidiki the struggle against the destruction of the territory because
of goldmining is a struggle for expression. This destruction of landscape
of old forest, pristine sea and beautiful aquifers is first of all a
destruction of memory, and the implementation of politics that aims to
disable our capacity to act.

Gold mining is not only a vicious consequence of the debt crisis but a form
of anti-production. It destroys more than it produces. It takes place for
the price of a dubious idea: that of gold——a not very useful element of the
earth in which we store financial value and add the idea of infinity or
divinity.

The screening of "Unearthing disaster" (2013) will be followed by a
discussion with Angela Anderson and Angela Melitopoulos mapping out the
complex situation in Skouries and the various forces, ethics, histories,
and materialities that are currently at work there. Anderson and
Melitopoulos are currently working on a second film about Skouries, which
will be screened at the Thessaloniki Biennale this summer.

-- 
http://www.idlenomore.ca/urgent_call_for_solidarity_stop_gold_mining
https://soshalkidiki.wordpress.com/

http://antigoldgr.org/en/

http://epitropiagonapanagias.blogspot.gr/2015/03/open-pit-11-m-2015.html

On Thu, Nov 17, 2016 at 2:41 PM, Jana Debus  wrote:

> Dear Frameworkers,
>
> please help me compile a list of
> Films
> / expanded cinema
> / art or research projects
> on Gold and Gold Mining.
> Gold Fever. Prospectors. Forty-niners.
>
> Thank you all.
>
>
> Sincerely,
>
> Jana
>
>
>
>
>
>
>
>
>
> jana debus
>
> email i...@janadebus.com
> cellphone +1 415 202 3193
>
> All information contained in this document is confidential.
> Any use beyond intended use is unethical and strictly prohibited.
>
>
>
>
>
>
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Re: [Frameworks] working with salt

[alena williams]

dear amanda,

here is an example/description of salt in use:
http://www.vdrome.org/jwest-salt.html

with best wishes
alena



On Thu, Jul 14, 2016 at 9:28 PM, amanda 
wrote:

> Thanks Lindsay!
>
> Can you give some more details on that process, or point me toward some
> resources that do?
>
> Thanks!
>
> xoadc
>
> Sent from my iPhone
>
> On Jul 14, 2016, at 2:59 PM, lindsay mcintyre 
> wrote:
>
> crystals of salt - table, sea salt and other large crystals make lovely
> bubbly marks on film with a dilute solution of bleach.
>
> lindsay
>
>
> On Tue, Jul 12, 2016 at 6:38 PM, 40 Frames  wrote:
>
>>
>> You might ask Robert Schaller, or those who have attended one of his
>> camps. He does a summer camp in the San Juan Island, and
>> I believe they use salt water in the processing.
>>
>> Alain
>>
>>
>>
>> On Tue, Jul 12, 2016 at 6:08 AM, Amanda Christie <
>> ama...@amandadawnchristie.ca> wrote:
>>
>>> hello all!
>>>
>>> I'm curious about what sort of processes are out there for working with
>>> salt and film.
>>>
>>> I have a residency on Prince Edward Island for the month of August,
>>> where I will be getting back to handmade film after a too-long hiatus...
>>> and since I will be surrounded by ocean... I'd like to work with salt and
>>> salt water from the ocean
>>>
>>> Any tips, tricks, techniques, or experiments that you'd like to share
>>> about working with salt would be much appreciated!
>>>
>>> Thanks so much!
>>>
>>> xoadc
>>>
>>>
>>>
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>>
>>
>>
>> --
>> 40 FRAMES
>> Portland, Oregon USA
>>
>> +1 503 231 6548
>> www.40frames.org
>> www.16mmdirectory.org
>>
>>
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Re: [Frameworks] Sally Berger, film curator, fired at MoMA;

[alena williams]

Dear all,

Following up on Fred's message, I would like to ask if anyone has more
detailed information about what happened at MoMA.

This is the New York Times article:

MoMA Apologizes for Dropping a Film Critical of North Korea
http://www.nytimes.com/2016/06/11/movies/moma-apologizes-for-dropping-a-film-critical-of-north-korea.html

And the Indiewire article:

MoMA Assistant Film Curator Sally Berger Fired After 30 Years
http://www.indiewire.com/2016/06/moma-assistant-film-curator-sally-berger-fired-rajendra-roy-1201688989/

However, it is unclear whether Sally's statements were done in consultation
with MoMA's legal department, for example (and then the dept head was
caught off-guard), or if something else happened. Either way, Larry
Kardish's and Rajendra Roy's comments suggest that more is going on here
and that this was perhaps an opportunistic firing. If anyone has further
information, please let us know.

In some ways, the bigger scandal is the glass ceiling at MoMA for veteran
female curators. How is it that Sally, after thirty years of service, was
never advanced to a full curator title? The same happened with Barbara
London.

In the last decade, men with less years under their belts (Roy, according
to the observer, arrived without a graduate degree in art or film:
http://observer.com/2014/04/the-chief-curator-of-film-at-moma-on-being-grounded-in-a-city-like-new-york/
), but with international careers have been positioned as departmental
heads, and in turn, the work of women like Sally has gone underappreciated
and undervalued by the institution.

While the current system does seem calibrated to work against curators who
stay local and invest their careers in a single institution, the busy work
of maintaining a collection (in addition to programming) is significant and
often extremely gendered at MoMA. I find the whole situation disturbing on
a number of levels.

Many thanks for any information,
Alena


On Sun, Jun 19, 2016 at 7:10 PM, Fred Camper  wrote:

> I agree in general with David's comments, without knowing much about the
> specifics of the situation, but I wanted to post a cautionary opinion about
> online petitions. I just about never sign them. First of all, they usually
> have no effect. Second, when they do, their effect is often a bad one. More
> importantly, mostly they refer to very complicated situations about which
> the signers know little. In the larger world,  We certainly know that major
> institutions have fired people for unjust,  idiotic or even evil reasons,
> but I also know of people who have been fired, or have had their lives
> ruined, through online petitions or shaming for offenses that perhaps did
> not deserved that. (A recent example,
> http://www.cbc.ca/radio/ideas/shame-on-you-tube-1.3086407 )
>
> It's a big enough challenge to act well in one's own life, and to treat
> well the people with whom one comes in immediate contact, and Lord knows i
> have not always succeeded in doing that. It is all too easy to sign
> something in outrage over some situation or other. The issues about which I
> feel I know enough to have an opinion -- we should use less fossil fuels,
> for example -- are not going to be affected by online petitions anyway.
>
> Do we initiate and sign online petitions to make ourselves feel better, or
> to actually make things better? As one-liner pieces of wisdom go, I am a
> great admirer of Gandhi's "Be the change you want to see ion the world."
>
> At the very least, it seems to me that someone who cares about this
> curator should try to do the work a good journalist would do and get to the
> bottom of the situation. An authoritative analysis that could show the
> firing was really wrong might actually help.
>
> Fred Camper
> Chicago
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Re: [Frameworks] Films about glass and light

[alena williams]

dear sheri,

two stunning films

Christoph Girardet & Matthias Müller, Kristall, 2006 and Mirror, 2003

looking forward to your final program announcement!

with best wishes,
alena

> On 02.02.2016, at 18:19, Sheri Wills  wrote:
> 
> Hello Everyone,
> 
> As part of a celebration of the 50th anniversary of the glass department at 
> RISD for next year, we are beginning to plan a series of screenings of 
> (mostly experimental) films that engage with materials, ideas, experiences of 
> glass and/or light - materially, abstractly, physically, metaphysically…..
> 
> We are planning a projection of Line Describing a Cone, and a screening of 
> Text of Light. The preliminary long list includes Moholy-Nagy’s films, Tacita 
> Dean’s Green Ray, and the 1959 industrial film, Glas, by Bert Haanstra.
> 
> It would be wonderful to hear thoughts from this group.
> 
> Many thanks in advance,
> Sheri
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Re: [Frameworks] Film Locations in the Salt Flats

[alena williams]

dear tenzin,

i recommend going to the center for land use interpretation website for tips. 
they have an office there in wendover. when are you heading out there exactly? 
there's going to be a public memorial at sun tunnels for the solstice this 
year. 

best wishes,
alena

On 10.05.2014, at 20:31, Tenzin Phuntsog mrten...@gmail.com wrote:

 Dear Frameworkers,
 
 I'm heading to Wendover, Utah and am going to check out the salt flats and 
 plan to get some filming done there.
 
 Can anyone recommend some good locations to film in the salt flats, 
 preferably easy to get to and safe to film. Google map links would help. PLMK 
 Thanks!
 
 
 Best,
 Tenzin Phuntsog
 
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Re: [Frameworks] LGBT Archival Footage, Home Movies Wanted

[alena williams]

dear stephen,

sharon hayes presented some footage from a 1971 demonstration in a recent
exhibition in berlin:

Kate Millett and the Women's Liberation Cinema
Christopher Street Liberation Day Parade, 1971
16mm film, color, sound; 33 min.

she and the original filmmaker created new sound to accompany the images,
so it seems the authorship on this new version is shared.

more info here:
http://www.tanyaleighton.com/p/p000554/PRESS_RELEASE_Sharon_Hayes_Public_Appearances_Extended_until_9_Novb63e7.pdf

best wishes,
alena






On Mon, Mar 31, 2014 at 9:51 PM, Info i...@oddballfilm.com wrote:


 Hello:

 Searching for any LGBT archival footage-ie protests, HIV/AIDS, lifestyle
 footage from the 1940s to 1990s for doc project.
 Anything with minorities, people of color encouraged.


 Best regards,

 Stephen Parr
 Director

 Oddball Film+Video
 www.oddballfilm.com
 Oddball Films
 www.oddballfilms.blogspot.com

 275 Capp Street
 San Francisco, CA 94110
 Phone 415.558.8112
 Fax 415.558.8116


 For a link to our latest projects:
 oddballfilm.com/projects_2013.pdf
 http://letterboxd.com/oddballfilm/lists/

 Follow us on facebook and Twitter!
 http://www.facebook.com/oddballfilm
 http://twitter.com/Oddballfilms

 On Mar 27, 2014, at 5:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:

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 When replying, please edit your Subject line so it is more specific
 than Re: Contents of FrameWorks digest...


 Today's Topics:

   1. Re: FCPX Plugin to remove dust and dirt? (Francisco Torres)
   2. Re: FCPX Plugin to remove dust and dirt? (Mary Stark)
   3. Re: FCPX Plugin to remove dust and dirt? (Marco Poloni)
   4. Re: FCPX Plugin to remove dust and dirt? (Chris Freeman)


 --

 Message: 1
 Date: Wed, 26 Mar 2014 16:06:02 -0400
 From: Francisco Torres fjtorre...@gmail.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Subject: Re: [Frameworks] FCPX Plugin to remove dust and dirt?
 Message-ID:
 CAEN6Ucmi8=
 q4+k-xy4ee26hdxaj-wzrybemye0tcldrrvvt...@mail.gmail.com
 Content-Type: text/plain; charset=iso-8859-1

 After Effects had a trick for that, choosing an area of the frame and clean
 it with motion tracking, dont know if FC could do anything like that.


 On Tue, Mar 25, 2014 at 8:28 PM, Chris Freeman 
 christopherbriggsfree...@gmail.com wrote:

  I shot some footage with my DSLR but had some dirt on my lens.  Anyone
  have experience / recommendations with Final Cut X plugins that will
 remove
  it?
 
  Since it was on the lens, it's (possibly) different than removing dirt
  from film scans, since that only appears for a few frames.  This is
  constantly in the shot.
 
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 --

 Message: 2
 Date: Thu, 27 Mar 2014 08:45:09 +
 From: Mary Stark maryst...@hotmail.co.uk
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Subject: Re: [Frameworks] FCPX Plugin to remove dust and dirt?
 Message-ID: blu0-smtp98a288ac57f92529ce2ab9ea...@phx.gbl
 Content-Type: text/plain; charset=windows-1252

 The clone stamp in After Effects removes marks here's a tutorial
 https://www.video2brain.com/en/lessons/removing-an-object-with-clone-stamp

 Mary Stark


 http://www.marystark.co.uk/
 http://interwovenpractices.co.uk/
 Tel: 07828450979


 On 26 Mar 2014, at 20:06, Francisco Torres fjtorre...@gmail.com wrote:

  After Effects had a trick for that, choosing an area of the frame and
 clean it with motion tracking, dont know if FC could do anything like that.
 
 
  On Tue, Mar 25, 2014 at 8:28 PM, Chris Freeman 
 christopherbriggsfree...@gmail.com wrote:
  I shot some footage with my DSLR but had some dirt on my lens.  Anyone
 have experience / recommendations with Final Cut X plugins that will remove
 it?
 
  Since it was on the lens, it's (possibly) different than removing dirt
 from film scans, since that only appears for a few frames.  This is
 constantly in the shot.
 
  ___
  FrameWorks mailing list
  FrameWorks@jonasmekasfilms.com
  https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
  ___
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