[Frameworks] seeking Rose Hobart print
Hello all, I'm trying to show Joseph Cornell's "Rose Hobart" here. I've checked with Anthology and MoMA, and neither are loaning their prints at the moment. If anyone has leads on other sources, I'd be grateful. Thanks! Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Films about the clock
Hello, Consider also Guy Sherwin's *At the Academy *and *Metronome, *both of which feature timekeeping devices related to the clock. Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Mon, Oct 29, 2018 at 4:20 PM Albert Alcoz wrote: > Hello again, > > Thank you all for the answers. The winner is *Bleu Shut* (1971) by Robert > Nelson, with four different votes! > > The suggestions will be really useful although i see it is rather > difficult to mention contemporary works. I have found some others created > around the seventies, like those filmed by Guy Sherwin: *Candle & Clock > (London 1977)* and *Clock & Train (Leaving Birmingham 1978). * > > Best, > Albert > > On Mon, Oct 29, 2018 at 10:17 AM Daniel A. Swarthnas > wrote: > >> Hi Albert! >> >> I guess you have been thinking about Bleu Shut (1971) by Robert Nelson. >> In "classic" narrative cinema you will find many films of course, >> like Smultronstället/Wild Strawbarries (1957) by Ingmar Bergman and Victor >> Sjöströms Körkarlen(1921) >> >> >> Daniel A. Swarthnas >> Cinema Parenthèse >> swarth...@mail.com >> +46(0)705778603 >> >> >> *Sent:* Saturday, October 27, 2018 at 1:07 PM >> *From:* "Albert Alcoz" >> *To:* "Experimental Film Discussion List" > > >> *Subject:* [Frameworks] Films about the clock >> >> Hello frameworkers, >> >> >> >> I’m trying to write a short article in spanish about different notions of >> time concerning contemporary experimental film and video. Since the concept >> of “time related to cinema” is almost impossible to delimit I have decided >> to concentrate just about the clock. >> >> >> >> So, i’m searching films and videos where the clock is an important >> object/issue for the development of the piece. By now I have just found >> appropiation works as *60 Seconds* (2002) by Christoph Girardet and *The >> Clock* (2012) by Christian Marclay but i’m sure there are dozens. >> >> >> >> There’s a brilliant film by Chris Gallagher named *Time Being* (2009) >> that could also be useful to theorize some ideas but I need some more >> titles. >> >> >> >> Any suggestions? >> >> >> >> Thank you all, >> >> >> >> Best, >> >> Albert >> >> -- >> http://visionaryfilm.net/ <http://www.visionaryfilm.net/> >> http://albertalcoz.com/ <http://www.albertalcoz.com/> >> ___ FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> ___ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> > > > -- > http://visionaryfilm.net/ <http://www.visionaryfilm.net/> > http://albertalcoz.com/ <http://www.albertalcoz.com/> > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Entertaining the film
Hello Nicole, I'm not clear on the original question - "a person or persons enter into the film world/narrative" - enter from where? Do you mean breaking the fourth wall, only in reverse? For example, a character directly addresses the camera/audience, then moves into the diegesis? This happens a lot in the TV series House of Cards. The opening scene of Woody Allen's Annie Hall does this, sort of. William Holden's opening narration in Sunset Boulevard? I would think it's more common to find films that move in the opposite direction, a character breaking the fourth wall after being within the narrative. Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Thu, Jul 19, 2018 at 12:22 PM Nicole Baker wrote: > Thanks for the suggestions everyone! > > It seems there are fewer than I expected. I was considering this something > of a film trope. Would you guys agree? > > On Wed, Jul 18, 2018, 9:04 AM Lara Hannawi > wrote: > >> a fun odd one where the subject is trying to depart from the film, within >> the film, you can say she's breaking down the 4th wall, the theatre of >> film, so in that sense she's doing the opposite of what you're looking for. >> its ayneh, or the mirror, by panahi. >> >> -- Original message-- >> *From: *Patrick Friel >> *Date: *Tue, Jul 17, 2018 18:01 >> *To: *Experimental Film Discussion List; >> *Cc: * >> *Subject:*Re: [Frameworks] Entertaining the film >> >> Buster Keaton's SHERLOCK JR. is the classic example. >> >> Also, HELLZAPOPPIN' with Ole Olson and Chic Johnson. >> >> Chuck Jones' great cartoon DUCK AMUCK is a variant on this. >> >> >> On Tuesday, July 17, 2018 7:48 PM, Nicole Baker wrote: >> >> >> Hey frameworkers! >> >> I'm trying to gather together a list of films where a person or persons >> enter into the film world/narrative. >> I know I've seen it, but can't think of any examples! Besides that Take >> on Me music video (which is close but no cigar). >> Examples from TV would work too. >> >> Thanks everyone! >> Nicole >> ___ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> >> ___ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Documentaries within/with a group subject and participatory filmmaker(s)
Hello, Must the filmmaker be "a visible and/or an active participatory presence" in the activity being filmed, or would a visible presence only as a filmmaker also count? In either case, a high percentage of George Kuchar's 200+ video diaries are relevant to this. Some ethnographic work might apply, such as Timothy Asch's and Napoleon Gagnon's The Ax Fight, or Asch's and Linda Connor's Jero on Jero. Jean Rouch wrote extensively about his participation in ritual as a filmmaker while filming (cine-trance), and his Tourou et Bitti might be the most explicit example of that. Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Tue, Jul 10, 2018 at 1:23 PM Sonya Mladenova wrote: > Hello everyone, > > Looking for documentary films shot with/within a group of people engaged > in an activity or some kind of project, independently or in an organized > environment,* in which the filmmaker is a visible and/or an active > participatory presence*. I'm especially interested in films from the last > 25-30 years. I'm investigating the relationship between the filmed > person(s) and the person(s) filming, whatever the configuration. > > Somes examples, but not limited in scope: > Starless Dreams by Mehrdad Oskouei > À ciel ouvert by Mariana Otero > La moindre des choses by Nicolas Philibert > > Many many thanks, > > Sonya > > > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] projection material
Hi all, I'm doing a multi-projector screening (let's say thirty feet wide) and need to hang some kind of projection material in the room that will be wide enough to accommodate the imagery. Can anyone suggest what kind of material I should look for? White vinyl has been suggested, but I'm not sure how that would work as a projection surface. Any advice is much appreciated. Best, Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] silent work
Hi all, I'm putting together a monitor-based exhibition of moving image work for a public space, with one of the requirements being that the works are shown silent due to the nature of the space. Plenty of archival and artists' *film *work fits this. But in the course of preparing this exhibition, a more general question has arisen: Who is making silent work now? Or more to the point, are there artists who make *video *pieces that are silent? I'm thinking of videos that might draw on the legacy of silent/non-soundtrack film work by Deren, Menken, Brakhage, Dorsky et al, but it seems difficult to find any moving image work without sound that doesn't originate somehow on film. I know Frameworks is devoted to work on film and not video, but perhaps some on this list can help. Thanks for any leads. Best, Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Labor Movement films?
I believe MoMA has prints of some of the Workers' Film and Photo League films. Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Sun, Apr 8, 2018 at 3:23 PM, Brandon Walley <brand...@gmail.com> wrote: > Looking for experimental, nonfiction, feature or shorts that deal with the > works right, labor unions or related for a May Day screening. Suggestions? > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Fiction feature length films about Avant-Garde cinema
Jim McBride's "David Holzman's Diary" -- Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org Spring 2018: Film Love presents The American Music Show retrospective <http://www.frequentsmallmeals.com/AmericanMusicShow_Retrospective.htm> On Wed, Feb 14, 2018 at 7:01 AM, Albert Alcoz <albertal...@gmail.com> wrote: > Hello, > > Do you recall any fiction feature length film that is a sort of tribute to > Avant-Garde or experimental film? > > The other day, watching the film *Arrebato* (1980) by Iván Zulueta for > ten times I was wondering about feature lengths films (on 35 mm or digital > video) where one of the main topic is the practice of Avant-Garde film. We > could say this Spanish film is a homage to experimental super 8 film. The > main character does horror films and the other is learning how to use the > "pause" and the interval timer with his Canon 1014. > > http://www.imdb.com/title/tt0078797/ > > I don't know if there are some other fiction films that could be > understood under this idea. > > Maybe *Dreams that Money Can't Buy *(1947)? > > Do you have some other titles in mind? > > Thank you! > > Albert > -- > http://visionaryfilm.net/ <http://www.visionaryfilm.net/> > http://albertalcoz.com/ <http://www.albertalcoz.com/> > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Electronic Soundtracks for Avant-Garde Films
Thanks, Mark, for this great list and the reminder of Hammer's Dyketactics. I'd forgotten that wonderful soundtrack. I'm also reminded now of Ben van Meter's own electronic soundtrack for S.F. Trips Festival - An Opening, and for parts of Acid Mantra. Andy On Thu, Dec 21, 2017 at 6:33 PM, Mark Toscano <mrkt...@gmail.com> wrote: > Oh Dem Watermelons' soundtrack is indeed an original Steve Reich > composition/performance with piano and voices, not electronic. Plastic > Haircut (1963) contains Reich's first-ever tape piece. Pretty sure the > Rainbow in Curved Air on Lawder's Corridor is just from the standard record > - the film does have a 3-minute intro containing different sound which I > vaguely recall Standish telling me that he made himself, and that he just > used the LP otherwise and asked Terry Riley if it was OK. > > Also Lawder's Raindance has a great electronic soundtrack by Robert > Withers. > > Pat O'Neill has some fantastic experimental and/or electronic soundtracks > in many of his earlier films - 7362 is by Joseph Byrd and a few of the '70s > tracks are by Stan Levine. I think Pat did the Runs Good track himself. > > Barbara Hammer has a number of films with excellent electronic > soundtracks, including No No Nooky T.V., Optic Nerve, Dyketactics (by BH > herself)... > > Carl Stone did tracks for Adam Beckett's Evolution of the Red Star, Jules > Engel's Accident, and Roberta Friedman & Grahame Weinbren's Amusement Park > Composition & Decay. Barry Schrader scored Beckett's Heavy-Light. > > Rick Corrigan's tracks for some of Brakhage's '80s films are pretty great > - there was even a cassette release of some of them. > > Rhys Chatham did soundtracks for Daina Krumins' Aether and The Divine > Miracle. > > Fred Coulter's electronic track for Richard Myers' Akran is pretty intense > and interesting. > > Carter Thomas did excellent tracks for Kathy Rose's Mirror People and > Sky-David's Sonoma. > > > Mark T > > > > On Thu, Dec 21, 2017 at 1:59 PM, Andy Ditzler <a...@andyditzler.com> > wrote: > >> I think Reich's soundtrack for Watermelons is just piano and voices, >> though I could be misremembering. A Reich tape collage piece forms the >> central section of Robert Nelson's Plastic Haircut. >> >> Also, Mick Jagger's Moog soundtrack for Kenneth Anger's Invocation of My >> Demon Brother. >> >> The original version of Gordon Matta-Clark's Office Baroque I believe had >> an electronic soundtrack. This was later replaced by Richard Landry's >> saxophone-based soundtrack, but if memory serves this had electronic >> effects and looping as well. >> >> I suppose the ascending sine wave tone in Wavelength would count! >> >> >> Andy Ditzler >> Founder and curator, Film Love: www.filmlove.org >> Co-founder, John Q collective: www.johnq.org >> Fall 2017: Film Love presents The American Music Show retrospective >> <http://www.frequentsmallmeals.com/AmericanMusicShow_Retrospective.htm> >> >> On Thu, Dec 21, 2017 at 7:49 AM, Ingo Petzke <i...@petzke.biz> wrote: >> >>> Don’t forget the early (tape) work by Steve Reich as can be heard in “Oh >>> dem watermelons” by Robert Nelson 1965 [though the by-far best of these >>> early pieces “Come out to show them” unfortunately never made it into a >>> film soundtrack] >>> >>> Also, “Corridor” by Standish Lawder 1971 uses a slightly prolonged >>> version of “Rainbow in Curved Air” by Riley. >>> >>> “Binary Bit Patterns” 1969 by Michael Whitney uses what sounds like >>> computer-generated music. >>> >>> >>> >>> Ingo >>> >>> >>> >>> *Von:* FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] *Im >>> Auftrag von *Elena Duque >>> *Gesendet:* Donnerstag, 21. Dezember 2017 13:03 >>> *An:* Experimental Film Discussion List <frameworks@jonasmekasfilms.com> >>> *Betreff:* Re: [Frameworks] Electronic Soundtracks for Avant-Garde Films >>> >>> >>> >>> Hello! >>> >>> >>> >>> The films by Lillian Schwartz have very nice electronic music >>> soundtracks: >>> >>> http://lillian.com/films/ >>> >>> >>> >>> Bruce Conner's Crossroads, with music by Terry Riley and Patrick Gleeson >>> >>> >>> >>> Not sure if sound experiments like Lis Rhodes or Robert Russett count... >>> >>> >>> >>> 2017-12-21 12:38 GMT+01:00 Albert Alcoz <albertal...@gmail.com>: >>> >>> Hel
Re: [Frameworks] Electronic Soundtracks for Avant-Garde Films
I think Reich's soundtrack for Watermelons is just piano and voices, though I could be misremembering. A Reich tape collage piece forms the central section of Robert Nelson's Plastic Haircut. Also, Mick Jagger's Moog soundtrack for Kenneth Anger's Invocation of My Demon Brother. The original version of Gordon Matta-Clark's Office Baroque I believe had an electronic soundtrack. This was later replaced by Richard Landry's saxophone-based soundtrack, but if memory serves this had electronic effects and looping as well. I suppose the ascending sine wave tone in Wavelength would count! Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org Fall 2017: Film Love presents The American Music Show retrospective <http://www.frequentsmallmeals.com/AmericanMusicShow_Retrospective.htm> On Thu, Dec 21, 2017 at 7:49 AM, Ingo Petzke <i...@petzke.biz> wrote: > Don’t forget the early (tape) work by Steve Reich as can be heard in “Oh > dem watermelons” by Robert Nelson 1965 [though the by-far best of these > early pieces “Come out to show them” unfortunately never made it into a > film soundtrack] > > Also, “Corridor” by Standish Lawder 1971 uses a slightly prolonged version > of “Rainbow in Curved Air” by Riley. > > “Binary Bit Patterns” 1969 by Michael Whitney uses what sounds like > computer-generated music. > > > > Ingo > > > > *Von:* FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] *Im > Auftrag von *Elena Duque > *Gesendet:* Donnerstag, 21. Dezember 2017 13:03 > *An:* Experimental Film Discussion List <frameworks@jonasmekasfilms.com> > *Betreff:* Re: [Frameworks] Electronic Soundtracks for Avant-Garde Films > > > > Hello! > > > > The films by Lillian Schwartz have very nice electronic music soundtracks: > > http://lillian.com/films/ > > > > Bruce Conner's Crossroads, with music by Terry Riley and Patrick Gleeson > > > > Not sure if sound experiments like Lis Rhodes or Robert Russett count... > > > > 2017-12-21 12:38 GMT+01:00 Albert Alcoz <albertal...@gmail.com>: > > Hello all, > > > > After asking about jazz > > and > > music an experimental film > > , > > and feeling grateful for all the answers, I was wondering about the > connections between early electronic music and avant-garde film. > > > > Recently I watched *OFFON* (1967-72) by Scott Bartlett with a “sound > composition” by Manny Meyer. > > > > Again, there should be plenty of avant-garde films where the soundtrack > is instrumental electronic music or experimental > > abstract > > sound created with magnetic tape recorders, synthesizers, electronic > tools, etc. > > > > Maybe one question would be to define what is considered to be early > electronic music but anyway, lets try it. > > > > Does anyone remember some other avant-garde films with > > early > > electronic music > > from the 50's, 60's, 70's even 80's > > ? > > > > Right now here’s the first list: > > > > *Cybernetik 5.3* (1968) by John Stehura. Music: Tod Dockstader. > > > > *Crystals* (1968) by Herbert Loebel. Music: Michael Lloyd. > > > > *Rohfilm *(1968) by Birgit & Wilhelm Hein. Music: Christian Michaelis. > > > > *Two Images for a Computer Piece *(1969) by Lloyd Williams. Music: > Vladimir Ussachevsky. > > > > *Variations on a Cellophane Wrapper* (1970) by David Rimmer. Music: Don > Druick. > > > > *Berlin Horse* (1970) de Malcolm Le Grice. Music: Brian Eno. > > > > *Mutations* (1973) by Lilian F. Schwartz. Music: Jean Claude Risset. > > > > Several films by Dore O. and Werner Nekes with sountracks by Anthony Moore > like *Diwan *(1973) or* Kaskara* (1974). > > > > *Riddles of the Sphinx* (1977) by Laura Mulvey and Peter Wollen. Music: > Mike Ratledge. > > > > Thanks in advance, > > > > Albert Alcoz > > > > -- > > http://visionaryfilm.net/ <http://www.visionaryfilm.net/> > http://albertalcoz.com/ <http://www.albertalcoz.com/> > > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > > > > > -- > > Elena Duque Viña > Telf: (+34) 605431072 <+34%20605%2043%2010%2072> > http://cargocollective.com/elenaduque <elenadu...@gmail.com> > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] experimental/feminist films with a woman's voice-over narration?
I believe Jane is heard, only briefly, in one of Brakhage's few sync sound films, "The Stars Are Beautiful." Jane is the subject of Barbara Hammer's student film "Jane Brakhage," available from Canyon, and she does the narration for that. Also see Chick Strand's film "Soft Fiction." Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org Fall 2017: Film Love presents The American Music Show retrospective <http://www.frequentsmallmeals.com/AmericanMusicShow_Retrospective.htm> On Fri, Nov 3, 2017 at 1:20 PM, Chuck Kleinhans <chuck...@northwestern.edu> wrote: > I agree with others that many experimental works by women use a woman’s > voice or voices. > > It might be useful to recall that what was often novel in women’s films in > the 60s-70s era was dealing with a narrator or in documentary experts or > witnesses who were women. We might connect this with changing conditions > and technologies of production that made synch sound recording cheaper and > more accessible for artisan filmmaking. as well as women artists having a > special interest in women saying things as well as looking at things. The > modes of silent, sound, and synch sound in experimental film also play a > part. For example, we see a lot of Jane Brakhage in her husband’s work, > but do we ever hear her? > > I remember after a screening of a 90 minute early feminist film of the > late sixties, one of my feminist friends remarking about the guys > attending, “I’ll be that’s the first time most of them listened to women > talking for so long and not leaving or interrupting them.” > > Chuck Kleinhans > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Christopher MacLaine
Gene, has your friend tried contacting Lawrence Jordan? I believe Jordan knew Maclaine and worked with him on The Man Who Invented Gold (but I could be wrong). J.J. Murphy and Fred Camper have done the most extensive writing I know on Maclaine; perhaps they have some leads. There's a transcription of a conversation with Brakhage about his time with Maclaine, published in Radical Light. Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Wed, Jul 5, 2017 at 10:02 AM, Gene Youngblood <ato...@comcast.net> wrote: > Frameworkers, a friend of mine is researching the literary life of > Christopher MacLaine. He sent this yesterday: > > "You may know that [MacLaine] was also a poet and editor. (Jordan Belson > was the art editor for the first issue of Contour Quarterly, the magazine > that MacLaine and his wife Norma edited, which ran for four issues in the > late forties.) I've been very interested in that side of his work, which > has completely vanished from any public view or awareness, and I've been > working for a few years on assembling the writings, and trying to learn > more about the context. Have had a very hard time finding anyone still > alive to talk to who knew him, or much on record about his life. Any > suggestions you might have in that regard would be very welcome. > > Any leads on this? Steve? Scott? > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] mental problems
Scorsese's The Last Temptation of Christ (Christ's dream while on the cross)
Kubrick's The Shining (Nicholson's conversations with the bartender)
The final scene of La La Land might qualify, it's more a reverie than a
hallucination
The Wizard of Oz ("There's no place like home...")
The climactic dream sequence in Horace Ove's Pressure
The various nightmares in Bunuel's The Discreet Charm of the Bourgeoisie
(including one where the characters sit down to dinner, only to realize
they're on a theater stage and can't remember their lines)
These examples depict dreams, nightmares, hallucinations, inner states
etc., but I'm not sure they *visualize *them (as does Kubrick's *2001*).
I'm having a harder time thinking of narrative feature films that do that.
Perhaps a better example is Kieslowski's theatrical version of A Short Film
About Killing, which was filmed with green filters that highlight the
psychopathy of the protagonist.
I've recently learned that Ben van Meter's Acid Mantra was feature-length
(and projected multi-screen) in one of its original iterations.
Andy Ditzler
Founder and curator, Film Love: www.filmlove.org
Co-founder, John Q collective: www.johnq.org
On Wed, Mar 22, 2017 at 12:41 PM, Gene Youngblood <ato...@comcast.net>
wrote:
> Friends, I’m seeking recommendations of feature films with scenes that
> attempt to visualize inner states of mind such as breakdowns (Vertigo),
> nightmares (Spellbound), acid trips (Easy Rider) or any other kind of
> hallucination (Altered States). Ecstatic or horrific doesn’t matter. Thanks.
>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Eulogy Films
George Kuchar, Season of Sorrow (1996) Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Sat, Mar 18, 2017 at 11:43 AM, Margaret Rorison < margaret.b.rori...@gmail.com> wrote: > Dear Film Friends, > > I am curious about film eulogies and would love to know more films that > have been made to honor someone. For example, Nathaniel Dorsky's *August > and After* > > I am looking for short films in particular. > > Poetic gestures of goodbye, final notes, odes... > > thank you, > Margaret Rorison > > > --- > http://margaretrorison.com/ > http://sightunseenbaltimore.com/ > > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Lying as a theme
Orson Welles, F for Fake The surprise ending of Robert Nelson's Bleu Shut might be applicable, as might Nelson's "director's commentary" (delivered in character) during Plastic Haircut. Possibly also Jean Rouch's Jaguar, for which the subjects of the film (Damouré Zika et al) added an improvised commentary long after filming. I wouldn't use the term "lying" for this one - more a playful ambiguity about how much they're pulling the viewers' legs. See also Buñuel's Land Without Bread. And Shirley Clarke's Portrait of Jason. Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Tue, Feb 21, 2017 at 8:49 PM, Morgan Hoyle-Combs <mhoyleco...@yahoo.com> wrote: > Hello > > Does anyone know of any film (essay/diary/doc) where lying is a theme or > the main focus? I wondered if there was anything that ran among these lines: > > 1. The audience is well aware that the narrator/filmmaker is lying to them > > 2. The audience does not know whether or not the narrator/filmmaker lying > to them. It's left ambiguous. > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] "Husbands" and "Wives"
Willard Maas and Marie Menken Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Fri, Feb 10, 2017 at 10:59 AM, minou norouzi <minou.noro...@gmail.com> wrote: > 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 > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Experimental Christmas films
In addition to his Xmas diaries, George Kuchar made a video for my own holiday song "Solstice": https://vimeo.com/7912244 Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Mon, Nov 14, 2016 at 7:54 AM, Harriet Warman < harr...@alchemyfilmfestival.org.uk> wrote: > Dear FrameWorks community, > > I'm planning a screening at the beginning of December for an audience > which will include (hopefully) some people who have little to no experience > viewing experimental/artist's film. > I'd like to show one or two Christmas/festive themed works and I'd welcome > any suggestions you might have for works I should consider. They could > involve anything we might associate with the 'festive' season, even if it's > just the presence of snow. > > Many thanks in advance for your suggestions. > > Harriet. > > -- > > Harriet Warman > Producer > Alchemy Film & Arts > Next Edition of Alchemy Film and Moving Image Festival: 2-5 March 2017 > Hawick, Scottish Borders > http://www.alchemyfilmfestival.org.uk > > Scotland + Venice 2017 http://scotlandandvenice.com/years/2017/ > > Alchemy Community Engagement (ACE) > > FB: http://www.facebook.com/alchemyfilmfestival > Twitter: @alchemyfilmfest > > Alchemy Film & Arts is a registered Scottish Charity: SC042142, Company No > 452485. > > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Films on Farming
Laura Kissel's Cabin Field (2005): http://www.laurakissel.com/#/cabinfield/ Ben van Meter and Gilbert Shelton's Set the Chickens Free (1972) Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Sat, Nov 12, 2016 at 3:32 PM, Linda Fenstermaker < lindafensterma...@gmail.com> wrote: > Hello, > > I am interested in experimental films that focus on farming both historic > and current. Any leads, titles, essays about this intersection of art and > agriculture would be greatly appreciated. Thanks! > > Linda Fenstermaker > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Wild sound in film
Hi all, I'm looking for suggestions of films that prominently utilize "wild sound" in their soundtracks. (I'm defining wild sound as sound that is recorded at the same time and location as the imagery, but is not synchronized to the imagery in the final film.) This would be other than the widespread use, in documentary filmmaking, of ambient sound as a background to synchronized sound and image. I'm thinking instead of films that highlight the non-synchronous (or semi-synchronous) nature of the sound. Examples include Peter Moore's "Stockhausen's Originale: Doubletakes," in which we see images of a concert performance, and hear sounds of that performance, but not in sync. The same principle applies to the 1950s ethnographic films of John Marshall (for example, A Joking Relationship) and Jean Rouch (Les Maitres Fous and others). Thanks for any suggestions! Best, Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org John Q in the New York Times Lens blog: http://nyti.ms/2aDWklE forthcoming: Journal of American Studies, co-editor, special issue, 2017 (with Joey Orr) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Docs With Expressive Dramatizations
Hi Ken, Errol Morris' The Thin Blue Line comes to mind immediately. The re-enactments are indeed expressive within the film's overall minimalist approach. Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org John Q in the New York Times Lens blog: http://nyti.ms/2aDWklE forthcoming: Journal of American Studies, co-editor, special issue, 2017 (with Joey Orr) On Tue, Aug 30, 2016 at 11:24 AM, Ken Paul Rosenthal < kenpaulrosent...@hotmail.com> wrote: > Thanks to one and all for your suggestions. To clarify some > questions/points that were raised/made: > > > By 'expressive dramatizations', I did not intend to refer to > 'docu-dramas', or clips appropriated from fiction films as illustrations > within documentaries. So the question of where the clip or scene came from, > while interesting, is not relevant to what I'm seeking. Unfortunately, I > don't have a good memory archive of films, so the only example that came to > mind in my initial request was, 'The Act of Killing'. But I know there are > innumerable other examples. > > > I recently saw a new doc on the life of Norman Lear, which featured 'flash > back dramatizations' of a child siting on a sound stage in a very sparsely > constructed home; a wall here or there, a suspended window, colored > shadows, a b/w motion picture projection of a memory, etc. This is the best > memory I could muster, but I didn't mention it because it's still not quite > as expressive as I had in mind. Rather than 're-staged', perhaps 'staged' > would have been a good descriptor. Or 'expressively staged'--yes, I think > that works best for what I'm looking for. Regardless, I've been compiling > quite a list between Frameworks and Doculink and when I find a couple good > examples, I'll post them as illustrations for what I'm seeking, and that > might breed more suggestions. > > > While I'm very particular about word choices, and how their denotation and > connotation can be mediated by context, I typed 'docs' rather than > 'documentaries' while writing my post simply as a matter of short hand > while typing. I'll leave it all if you'd like to bandy the differences > between the two. Or the implication that verite implies truth. All one need > do is consult the numerous interview in Scott MacDonald's brilliant > compendium of interviews on the intersection of avant garde and documentary > genres for how the documentaries have evolved in practice and by extension, > definition. I also adore Herzog's insistence that anything that moves the > film towards a 'deeper truth' is fair game, no matter how re/constructed. > > > Here's a really old, short essay I wrote--telling titled, > 'Manipulations'--for a program of experimental docs I curated back in 2001 > in Singapore. I think the basic principles still hold true so I'm linking > it here for whatever relevance to the discussion may be gleaned: > http://www.kenpaulrosenthal.com/manipulations.htm > > > Cheers, Ken > <http://www.kenpaulrosenthal.com>www.kenpaulrosenthal.com > www.whisperrapture.com > www.maddancementalhealthfilmtrilogy.com > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] THE END OF FACEBOOK AS SOCIAL NETWORK
Agreed with Jessica, free services only do so much and you can't rely solely on them for publicizing your event. That said, I do mini-surveys at each of my events, and Facebook is how most (not all) of attendees know. I have a dedicated group for my film series on Facebook, which I moderate and for which people sign themselves up - and even though they themselves have indicated their interest, they can only receive invites to the group's events if they are also my personal friends on FB. That could be the problem - your invites only go to those you have friended. Also agreed that email lists remain essential. I've heard good things about Mailchimp. I personally use ymlp.com and have found it effective and very easy to work with - worth the yearly fee, definitely. Hope this helps. Andy Ditzler Founder and curator, Film Love: www.filmlove.org | https://www.facebook.com/groups/77666086329/ Co-founder, John Q collective: www.johnq.org On Sat, Mar 12, 2016 at 9:33 AM, drawclose.com <snowbloods.para...@gmail.com > wrote: > The Facebook workaround : message five to ten friends a day and ask them > to invite people to that event. Have all other participants do the same. > You have to nag, the kids these days think putting up a Facebook event is > work*. > > The long term workaround: build your email list. > > Unpopular truth: if the service is free than you are the product being > sold. > > It's a struggle, FB keeps the illusion of convenience, since "everybody's > on it all the time". But when someone offers to do the work for you, > there's usually a cost . . . > > Jessica > > **my response to this was: really? You ever hung 100+ fliers with staple > guns only to watch them disappear in a week?* > > * > http://www.drawclose.com > > On Mar 11, 2016, at 11:32 PM, Gashouse Films <gashousefi...@gmail.com> > wrote: > > Yes, same exact thing is happening to me. After 5 years, my first feature > is premiering and I was only able to invite half of the followers of the > film page on FB. Hoping somehow they will catch a post to know about the > screening. > > On Fri, Mar 11, 2016 at 11:03 PM, Dominic Angerame < > dominic.anger...@gmail.com> wrote: > >> Personally believe that Facebook and Apple are the two biggest terrorist >> organizations in the world! >> >> Dominic >> >> On Fri, Mar 11, 2016 at 3:46 PM, Klaus W. Eisenlohr <kl...@richfilm.de> >> wrote: >> >>> THE END OF FACEBOOK AS SOCIAL NETWORK >>> Well, I think, that's it! I was just creating an event for our screening >>> next Thursday at Z-Bar. For Directors Lounge >>> BUT I COULD ONLY INVITE 50 PEOPLE! >>> >>> We have like 820 group members of Directors Lounge in Facebook and I can >>> only reach 50 of the to invite them? >>> I guess we need to create new networks, let's see, but this is just not >>> working any more. >>> >>> Oddly and stupidly, Facebook used to be the place where all the >>> filmmakers come and connect, or used to do so. That was the reason I was >>> started to be engaged here. >>> If you are having any suggestions, for a better less obscure project to >>> connect with people, I would be happy to hear from you. >>> Now I just hope we will somehow reach the people interested for the next >>> show. >>> See you there, maybe! >>> >>> Best wishes, >>> Klaus W. Eisenlohr >>> >>> Team Directors Lounge >>> -- >>> >>> Klaus W. Eisenlohr, Osnabrücker Str. 25, D-10589 Berlin, Germany >>> >>> >>> >>> email: kl...@richfilm.de >>> and film production:http://www.richfilm.de >>> >>> >>> phone: int.- 49 - 30 - 3409 5343 (BERLIN) >>> ___ >>> FrameWorks mailing list >>> FrameWorks@jonasmekasfilms.com >>> https://mailman-mail5.webfaction.com/listinfo/frameworks >>> >> >> >> ___ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> > > > -- > Daniel Maldonado > Gashouse Films > > *"**H.O.M.E.**" * - *2016 U.S. Latino Filmmakers with directorial debuts > "to watch out for"* - *Chicana From Chicago* > > www.gashousefilms.com > www.homeacronymfilm.com > > > > > "H.O.M.E." - *LIKE * our Facebook page > https://www.facebook.com/pages/HOME-the-film/167592933349015 > > Gashouse Films - Facebook page > https://www.facebook.com/pages/Gashouse-Films-Inc-LLC/174621872592282 > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] two more
A most astonishing empty-street film is James Nares' "Pendulum," filmed near the corner of Staple and Jay Streets in NYC, 1976. The occasional person or car is glimsped on the street as the titular pendulum swings to and fro, but for the most part the surprising emptiness of the Manhattan streets is crucial to the film's magical atmosphere. A pixleated excerpt, minus the section where the camera is attached to the pendulum, is here: http://www.nytimes.com/video/t-magazine/10001274396/pendulum.html Andy Ditzler Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Thu, Mar 10, 2016 at 5:43 PM, Gene Youngblood <ato...@comcast.net> wrote: > Friends, in the last couple of weeks you have generously assisted me in > finding films with certain content, like shadows, swings, and 360-degree > camera moves. They’re for two presentations I’m giving in San Francisco > late April, which I’ll tell you more about as the time approaches. > Meanwhile, I need two more: > > 1. Empty city streets. “The World, Flesh, and the Devil” is an example, > New York without people. > > 2. In Woody Allen’s “Annie Hall” subtitles tell us what he and Diane > Keaton are really thinking as they talk with one another. I’m drawing a > blank on another, more recent, film with well known actors that has a > similar scene. My recollection is that it’s not necessarily intended to be > humorous, but I could be wrong about that. Any ideas about this or any film > in which the technique is used? It has to be text on screen, not voice-over > “inner monologue,” which text represents in these instances. > > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Collage and political narrative
Dear all, I would appreciate any suggestions of films and videos using collage structure in the context of political work. I'm thinking of a great video by the Brazilian artist Tadeu Jungle, Herois da Decadensia (1987), which incorporates parallel tracks of political documentary, street performance art, Surrealist-inspired imagery, and other items. Though its elements are wildly divergent, it coheres into a kind of "collage narrative." It struck me that Makaveyev's WR: Mysteries of the Organism and Sweet Movie both work in this fashion, as does Rivette's Out 1, with its parallel conspiracy narrative and documentary footage of theater groups in rehearsal. Can anyone think of other work in this mode? Works that cut between divergent events and sections, to create a whole? I'm especially interested in knowing of short works, but anything that comes to mind would be useful. I've always been fascinated by this kind of work. I'm thinking of this "genre" as distinct from the found footage collage tradition exemplified by Bruce Conner's A MOVIE, since the above works were all shot by the filmmakers. Nevertheless, suggestions that frustrate this divide are also welcome. Many thanks. Best, Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org -- Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Electric Circus-Barbara Rubin Archives
Hi Stephen, If I remember correctly, Bob Cowan's wonderful short film Rockflow was filmed at Electric Circus. Film-Makers' Coop should have it. Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Fri, Feb 19, 2016 at 4:23 PM, Oddball Films <i...@oddballfilm.com> wrote: > We’re researching a doc about the Electric Circus, a nightclub that > existed on the lower east side of NYC from 67-71. I’ve been told long since > deceased filmmaker Barbara Rubin shot some footage there > Might anyone have a contact with her estate? If you can help at all please > contact me directly. > We’re also searching for footage of the lower east side from that period > as well as the following performers and celebrities either performing at > the club or during that time period: > > > > Circus Maximus > The Paupers > Elephants Memory > The United States of America > Dave Van Ronk > The Stone Ponies > Auto Salvage > Reunion with John Cage > Pauline Oliveros > Mel Powell > Michael Sahl (Theater) > David Behrman (Theater) > Salvatore Martirano (Theater Lincolns Gettys burg address performed with a > gas mask on) > William Russo with Irma Routen (Theater “The Civil War” in memory of > Martin Luther King) > Alvin Lucier with Takahiko Iimura “Shelter 99” > Lejaren Hiller “Machine Music” > Morton Subotnick (Live Electronic Music) (Started the San Francisco Tape > Center) > Sirocco (Electronic Street Music) > Terry Riley > Cecil Taylor and Don Cherry > Christopher Tree > Pulsa (Electronic Music environments performed by Yale students) > Children of God > Cyrus Erie > Izhak Perlman > Stephens Kate > Michael Frager > David Rosenboom (Electronic Music) > Lowell Fulsom > The Velvet Underground with Lou Reed > > Here is a partial list of celebrities who went there. Many of these > people were there on opening night. > > The Monkees > The Rolling Stones > Allen Ginsburg > Truman Capote > Warren Beatty > Douglas Fairbanks Jr. > Liza Minelli > Peter Allen > Vincente Minelli (Film Director) > Leonard Bernstein (Conductor/ Composer) > Bette Davis > Jon Voight > Michaelangelo Antonioni > Tuli Kuferberg "The Fugs" > David Blue "Folk Singer" > George Plimpton > Tom Wolfe > Steve Smith (Kennedy In Law) > Mary McCarthy (Novelist) > Joe Shaw (Fighter) > etc. > > > If you can suggest any sources for the above it would be greatly > appreciated. > > > > Best regards, > > Stephen Parr > Director > > Oddball Films > www.oddballfilm.com > www.oddballfilms.blogspot.com > > 275 Capp Street > San Francisco, CA 94110 > Phone 415.558.8112 > > > For a link to our latest projects: > http://letterboxd.com/oddballfilm/lists/ > Follow us on facebook and Twitter! > http://www.facebook.com/oddballfilm > http://twitter.com/Oddballfilms > > > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 360 degrees
Hi Gene, The "Actione Musicale" section in Godard's Weekend comes right to mind, as does the circular dolly/pan around the three sisters in a restaurant in Hannah and Her Sisters. (Assuming you're not limiting the query to only uninterrupted/uncut 360 degree movements.) I also think of James Stewart and Kim Novak's embrace in the hotel room in Vertigo, itself cited as an influence on the handheld circular shot of the two young men making out after shooting up speed in Warren Sonbert's Amphetamine. Chabrol's Les Cousins contains a circular pan around Charles' study room near the end of that film. The ending shot of Antonioni's The Passenger might qualify? Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Wed, Feb 17, 2016 at 8:22 PM, Fred Truniger <fred.truni...@gmail.com> wrote: > does straub/huillet's repeated drive around the roundabout of la bastille > in 'trop tot, trop tard' qualify? > > if so, i'd strongly recommend volko kamensky's short film 'divina > obsesión' from 1997 (Germany). it's doing 23 drive-troughs in french > roundabouts. great film! unfortunately completely unknown. > > i guess also the opening-scene in tarantino's 'reservoir dogs' is circling > around the table, however there are many cuts. you are probably not looking > for this kind of mise-en-scène, are you? > > cheers, fred > > > Am 18.02.2016 um 01:06 schrieb Gene Youngblood <ato...@comcast.net>: > > > > Friends, > > I need recommendations of films that contain 360-degree dolly (or > Steadicam) shots. Like for example circling around people seated at a > restaurant table, but it can be anything. It seems to me there are “famous” > ones in the French New Wave, and there must be many others before and after > that. > > ___ > > FrameWorks mailing list > > FrameWorks@jonasmekasfilms.com > > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Experimental Films on Farming/ Agriculture
Lots of Anne Charlotte Robertson's work, especially Melon Patches and Emily Died. Robbie Land's Matters of Bioluminessence has a section depicting growth of mushrooms/fungi. Animals: lots of Brakhage. I haven't seen The Loom (1986), but by description it may qualify - depending on how strict a definition of agriculture you have in mind. I once saw a Ben van Meter film - I think it was made later than the 60s work for which he's best known - about a chicken farmer on LSD. Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Thu, Jan 14, 2016 at 12:50 PM, Heath Iverson <heathivers...@gmail.com> 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 > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Texts / Works Bridging Early Cinema, Early Video, Early ___
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 <jesse.mal...@gmail.com>
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
> <http://livetotapefestival.tumblr.com/>
> jessemalmed.net <http://www.jessemalmed.net> // deep leap
> <http://www.deepleap.net> // nightingale <http://nightingalecinema.org/>
> // trunk show <http://trunk--show.com> //
> projective verse <http://urbanhonking.com/projectiveverse/> // bad at
> sports <http://badatsports.com/tags/jesse-malmed/> // acre_tv
> <http://acretv.org/> // western pole <http://westernpole.tumblr.com>
>
> *
> <http://www.chicagoreader.com/chicago/trunk-show-jesse-malmed-raven-falquez-munsell-bumper-stickers-eric-fleischauer/Content?oid=15719804>Trunk
> Show in Newcity
> <http://art.newcity.com/2015/05/30/portrait-of-a-gallery-trunk-show/>** /
> **JM on WDCB
> <https://soundcloud.com/wdcbnews/the-arts-section-chicago-fest>** /**
> Live to Tape in the Reader
> <http://www.chicagoreader.com/Bleader/archives/2015/05/14/live-to-tape-fest-is-like-if-weird-al-yankovics-uhf-were-a-gallery-installation>
> / **Trunk Show in the Chicago Reader
> <http://www.chicagoreader.com/chicago/trunk-show-jesse-malmed-raven-falquez-munsell-bumper-stickers-eric-fleischauer/Content?oid=15719804>
> / JM in the Reader
> <http://www.chicagoreader.com/Bleader/archives/2015/01/20/the-next-month-is-the-time-to-catch-the-thriving-local-experimental-video-art-scene>
> /
> Gapers Block
> <http://gapersblock.com/ac/2015/01/25/jesse-malmed-the-film-studies-center/>
> / South Side Weekly
> <http://southsideweekly.com/yes-to-humor-no-to-laughs/> / Chicago Tribune
> Best of 2015
> <http://www.chicagotribune.com/entertainment/music/ct-best-art-2015-ent-1213-20151209-story.html>*
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] experimental cinema and the anthropocene
I'd second the suggestion of Spiral Jetty - it was the first film that came to my mind! Also Michael Snow's La Region Centrale. Several of Robbie Land's films that draw on photosynthesis or other processes of natural light, like Matters of Bioluminescence. Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org On Mon, Dec 7, 2015 at 12:56 PM, Dave Tetzlaff <djte...@gmail.com> wrote: > > Some of Brakhage's animal studies might fit -- such as "The Domain of > the Moment" or "The Presence" > > Actually my first thought was that a lot of Brakhage could be appropriate > – c.f. the famous opening of 'Metaphors on Vision' Adventures in > perception, the un-tutored eye seeing as before the Framework of > language... etc. Anticipation of the Night could be said to view the modern > world as a pre-human might. In other ways, Mothlght, Sirius Remembered, Dog > Star Man, of course. > > All films do have the POV of human agents somewhere in their texts. The > question, it seems to me, is which films can be reworked through > contenxualization to be viewed as representing life beyond human/no-humn > dualism – regardless of whether that's the typical interpretation, or what > the film 'actually means'. Still, only a few films are open to such a game > of 'let's pretend'. > > 'Highway Landscape'? 'Print Generation'?'Private Life of a Cat'? > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films about solfege
Matt Hinton's documentary Awake My Soul is about southern shape note singing, specifically from the Sacred Harp book. There are many participant-made videos of shape note singing on Youtube, and there you can also find Alan Lomax's 1982 footage of a southern shape note singing convention. Andy Ditzler Andy Ditzler www.filmlove.org www.johnq.org On Thu, Aug 6, 2015 at 11:33 AM, Amanda Christie ama...@amandadawnchristie.ca wrote: Hello hive mind, I'm looking for examples of films about or related to solfège. thanks, amanda ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Musical Noir?
The player piano and its theme, recurring in Orson Welles' Touch of Evil. Andy Ditzler www.filmlove.org www.johnq.org On Thu, Jun 18, 2015 at 11:10 PM, Shashwati Talukdar m...@shashwati.com wrote: I am looking for examples of the use of music and songs in films that can be described as noir. Where music plays an integral role in moving the film along. Mainstream examples also welcome. -- regards, Shashwati Talukdar 夏雪莉 --- https://www.facebook.com/fournineandahalf http://vimeo.com/shashwati https://www.linkedin.com/profile/preview?vpa=publocale=en_US https://twitter.com/cinedevi http://fournineandahalf.com/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Ethnographic films / studies of The Other
Nanook of the North is far from the cliche of a white man adventurer making an anthropological film in a faraway place. Although it's been disparaged that way at times, notably by Fatimah Tobing Rony, the film and Flaherty have also been vigorously defended as a primary example of shared anthropology, not least by Jean Rouch. Another foundational film from this era is Grass, by Merian Cooper who went on to make King Kong. Grass is not a cliched film either, for that matter. (Not that these films are free of problems.) For more explicitly egregious examples from this era, I would look at the films of Martin and Osa Johnson, such as Borneo. One of their films is imported directly (perhaps in full, I'm not sure) into Ken Jacobs' Star Spangled to Death, which is where I learned about them. Important to note here that Martin and Osa currently have a clothing store chain named after them here in the U.S. The legacy continues. Also look at Bunuel's Land Without Bread for a very wicked and very early parody of exactly what you're describing. It's not so much that a given film personifies the cliche uncomplicatedly (though I'm sure we can come up with more examples of that), but that much of documentary filmmaking practice to this day replicates the conditions of early anthropological (colonialist) uses of photography and film. Non-diegetic music (usually a giveaway), slow-motion reaction shots currently in vogue (of a subject saddened by tragedy, for instance), secret filming (often staged as such, of course) - all of these contribute to othering and other forms of exploitation (often ostensibly with the opposite goal, but nonetheless...). Some of the most shocking current videos are those made for the social experiment trend on Youtube, such as: https://www.youtube.com/watch?v=NiWxrpikWgs or https://www.youtube.com/watch?v=YD1VT7YRJ5I. As with most things at this level of toxicity, it would take awhile to unpack the interlocking oppressions, both formal and societal, behind these videos and their success. I will just note here that the self-reflexive techniques developed by many 60s/70s ethnographic and documentary filmmakers in order to critically examine the filmmaker's relation to subjects, are here deployed for the opposite purpose. As I say, pretty toxic stuff. Regarding Jean Rouch, I might disagree with Jonathan that Rouch turns the 'other-izing' gaze of the ethnographic documentary to a group of white Parisians in Chronicle of a Summer. I think Chronicle is not about turning the tables particularly, but about applying Rouch's concept of shared anthropology in Paris rather than among the Songhay. If any tables are turned in the film, it's on the filmmakers themselves, as evidenced by the movie's final scene. Rouch's Petit a Petit (I think that's the one) does have a hilarious scene in which Rouch's African collaborators take the camera and mic out on the streets of Paris, turning the tables and treating Parisians as anthropological subjects. They even take measurements of their subjects on camera, in a parody of 19th-century anthropological photography. I would agree that if you're looking for films that merit the collective eye-roll, Flaherty, Rouch, Gardner, Mead, Asch, Marshall et al are not where I'd turn. Andy Ditzler On Fri, May 1, 2015 at 1:19 PM, Jonathan Walley wall...@denison.edu wrote: Jean Rouch and Robert Garnder come to mind. Both were prolific ethnographic filmmakers, but for Rouch I’d recommend *Chronicle of a Summer* (1960), *The Mad Masters* (1955), and *Jaguar* (1967), and for Garnder *Dead Birds* (1964). Chronicle is especially interesting because Rouch turns the “other-izing” gaze of the ethnographic documentary to a group of white Parisians. There are plenty of others, but Rouch and Garnder stand as the major figures of ethnographic documentary, at least as far as white male filmmakers are concerned (obviously Trinh Minh-ha and Germaine Dieterlen, among others, are important filmmakers in this canon, not to mention Margaret Mead). But I wouldn’t say that their films deserve a collective eye roll; if the genre has declined into cliche (I’m not saying it has, just that I don’t know) I wouldn’t fault these filmmakers. Certainly when the representatives of one culture make films about another there are all sorts of potential pitfalls, but Rouch and Garnder approached the task knowingly and reflexively. I don’t believe they worked under the assumption that their acts of “putting minorities onscreen” was a simple matter (and are the African men and women in many of their films “minorities?” They would be a members of a racial minority in the U.S. or Europe, but not in Africa, I’d say). Hope this helps. Jonathan Dr. Jonathan Walley Associate Professor Department of Cinema Denison University wall...@denison.edu On May 1, 2015, at 12:54 PM, Chris Freeman christopherbriggsfree...@gmail.com wrote: I've seen them by independent filmmakers at micro
Re: [Frameworks] Ethnographic films / studies of The Other
Thanks, Dennis, for this much more nuanced view on the Johnsons' films. Andy Ditzler On Fri, May 1, 2015 at 4:12 PM, Dennis Doros milefi...@gmail.com wrote: There's also many more considerations in this question as we have found out over the years. As Andy points out, the Martin and Osa Johnson theatrical films have some fairly racist elements to them. We released SIMBA as the most inoffensive (and their most famous) film and worked with experts of the area to see what they thought. Most times when we release these documentaries/docudramas (and we have a lot of them in our Age of Exploration series that is in its 25th year), it's that many of these films are seen now -- even if they have white directors -- as literally home movies. There are the great grandfathers, grand aunts that they have only heard about or seen in pictures up on the screen. Over the years, we've had hundreds of these phone calls from the children who are very thankful. That doesn't excuse any racism -- though some should be seen in context of the time they were made, we should also consider that they were racist even back then -- but it does add a layer. The second concept is that in these films, there are cultural artifacts that are very valuable to their descendants. Some of the dances, the rituals, the art have been lost to time and modernization while some were outlawed. You can't understand them as well in photographs or writings from the time. We have a film CHANG that a film historian insisted it was racist. When I explained that it's a national treasure of Thailand (at the time, this was 1994 or so) and that the King played it every year on television since it was so popular, the historian declared that the people of Thailand obviously didn't understand racism! The third and most important concept is that some of these directors were as modern as we are and as in love and respectful of the cultures and people. It's always a mistake to consider previous generations as more primitive or less socially aware. (We're not doing so great with race in America these days either.) So! although the Martin and Osa theatrical films did have some typical old tribesmen trying to play a phonograph or open a bottle of beer (Flaherty started this with Nanook) because that's what they thought the American public wanted, it's little known that they also had at least six different version of the films and their scientific versions that they did for the American Museum of Natural History are incredible records of lost tribes and rituals. You can see the love they have for the African tribes in these films and in their huge number of photographs (many of their trips were sponsored by George Eastman and therefore, Kodak). I have the George Eastman House laserdisc with about 6000 of their photos and they are incredibly moving. So, there are many racist films by white directors over the history of cinema (Adam Sandler and the Navahos, just last week!) but I do think that they need to be evaluated not only by film historians but also members of the tribe, people who know the cultures extremely well, etc. We really try to work with the tribes and people involved in these films before we release to make sure we are not doing anything that would displease their communities, and they always find something that we can do to be more respectful in our release. Best regards, Dennis Doros Milestone Film Video PO Box 128 / Harrington Park, NJ 07640 Phone: 201-767-3117 / Fax: 201-767-3035 / Email: milefi...@gmail.com Visit our main website! www.milestonefilms.com Visit our new websites! www.mspresents.com, www.portraitofjason.com, www.shirleyclarkefilms.com, To see or download our 2014 Video Catalog, click here http://cdn.shopify.com/s/files/1/0150/7896/files/2014MilestoneVideoCatalog.pdf?75 ! Support Milestone Film on Facebook http://www.facebook.com/pages/Milestone-Film/22348485426 and Twitter https://twitter.com/#!/MilestoneFilms! On Fri, May 1, 2015 at 3:47 PM, Andy Ditzler a...@andyditzler.com wrote: Nanook of the North is far from the cliche of a white man adventurer making an anthropological film in a faraway place. Although it's been disparaged that way at times, notably by Fatimah Tobing Rony, the film and Flaherty have also been vigorously defended as a primary example of shared anthropology, not least by Jean Rouch. Another foundational film from this era is Grass, by Merian Cooper who went on to make King Kong. Grass is not a cliched film either, for that matter. (Not that these films are free of problems.) For more explicitly egregious examples from this era, I would look at the films of Martin and Osa Johnson, such as Borneo. One of their films is imported directly (perhaps in full, I'm not sure) into Ken Jacobs' Star Spangled to Death, which is where I learned about them. Important to note here that Martin and Osa currently have a clothing store chain named
Re: [Frameworks] 2. Re: What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?
Without getting into questions of essential, I would say that this is not my experience at all with screening Wavelength. My students - definitely curious and excited people - generally loved watching it, and there was much productive discussion. I've also shown it publicly in my film series on several occasions, again with good results and much discussion afterward (though of course the reactions were not uniformly positive). You see it as mid-century high modernism (thus presumably representing a fixed, major tradition), whereas I see it as a film particularly vulnerable to attacks based precisely upon its *difference*, which is perhaps one reason I'm sympathetic to it. In any case, there's no reason that screenings of this film cannot be deeply sensuous and engaging experiences, especially for artists. Best, Andy Ditzler On Sun, Mar 29, 2015 at 9:11 AM, Sasha Waters Freyer swfre...@vcu.edu wrote: If you want to take a group of curious, excited young artists and basically make them want to kill themselves, by all means, show them Wavelength. I call shenanigans on equating essential with mid-century high modernism which is but one of many 'major traditions.' Another, more engaging legacy might be the fascinating intersections between art history, critical theory, politics and popular culture that coalesces and build in the '90-s and early 00s, exemplified in different but totally exciting and unique ways by: It Wasn't Love - Sadie Benning November - Hito Steyerl A Little Death - Sam Taylor-Wood So much richness here! Relationships between realism and (high/post) modernism; identity/queer performance pre-youtube/selfie era; the explosion of new tech in the 90s on and their formal implications; post-9/11 everything; the 'Celebrity-artist' career trajectory of STW, etc., etc, etc Sasha -- ‡‡‡ Sasha Waters Freyer Chair, Department of Photography Film VCU School of the Arts 325 N. Harrison St. / PO Box 843088 Richmond, VA 23284 tel. 804.828.2162 email: swfre...@vcu.edu http://www.arts.vcu.edu/photofilm/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Green and Orange Films
Orange by Karen Johnson, 1971 Andy Ditzler On Sat, Jan 31, 2015 at 3:39 AM, Benjamin Popp noiseonf...@gmail.com wrote: I'm looking for films with a theme of the color Green or Orange. Any ideas? ben ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Books on the History of Avant-Garde film in US
Steve Anker, et al, Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000 Bart Testa, Back and Forth: Early Cinema and the Avant-Garde A. L. Rees et al, Expanded Cinema: Art, Performance, Film Robin Blaetz, Women’s Experimental Cinema: Critical Frameworks Scott MacDonald's edited volumes of primary documents on Art in Cinema and Cinema 16 Robert Pike, A Critical Study of the West Coast Experimental Film Movement (UCLA dissertation, 1960) Jeffrey Skoller, Shadows, Specters, Shards: Making History in Avant-Garde Film Stephen Dwoskin, Film Is: The International Free Cinema David E. James, Allegories of Cinema -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Thu, Jan 29, 2015 at 1:16 PM, Michael Betancourt hinterland.mov...@gmail.com wrote: I'm sure I'm forgetting something, so please help! Histories of avant-garde film in the United States: Lewis Jacobs, “Experimental Cinema in America 1921-1947” in *The Rise of the American Film* (1948) Roger Manvell, *Experiment in the Film* (1949) Gregory Battcock, *The New American Cinema* (1967) Sheldan Renan, *An Introduction to the American Underground Film *(1967) Parker Tyler, *The Underground Film: A Critical History* (1698) Gene Youngblood, *Expanded Cinema* (1970) David Curtis, *Experimental Cinema *(1971) Amos Vogel, *Film as a Subversive Art* (1976) P. Adams Sitney, *Visionary Film* (1974) Maureen Turin, *Abstraction in Avant-Garde Films* (1978/85) William Wees, *Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film *(1992) Scott MacDonald, *Avant-Garde Film Motion Studies* (1993) James Peterson, *Dreams of Chaos, Visions of Order* (1994) Jan-Christopher Horak, *Lovers of Cinema: The First American Film Avant-garde, 1919-1945* (1998) Joan Hawkins, *Cutting Edge: Art-Horror and the Horrific Avant-Garde* (2000) Bruce Posner, *Unseen Cinema: Early American Avant-Garde Film 1893-1941* (2001) Lauren Rabinovitz, *Points of Resistance: Women, Power, and Politics in the New York Avant-garde Cinema, 1943-71* (2003) David E. James, *The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles* (2005) Paul Arthur, *Line of Sight: American Avant-Garde Film Since 1965* (2005) Alexander Graf, ed., *Avant-Garde Film (Avant-Garde Critical Studies 23)* (2007) A. L. Rees, *A History of Experimental Film and Video* (2011) Michael Betancourt Savannah, GA USA michaelbetancourt.com twitter.com/cinegraphic | vimeo.com/cinegraphic www.cinegraphic.net | the avant-garde film video blog ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] tableau vivante : experimental film and single frames
If I understand the question correctly, much of Jack Smith's work would apply; I would highlight Normal Love and No President in particular. Some of the Actionist films of Otto Muehl/Kurt Kren also come to mind: perhaps Cosinus Alpha, Zock Exercises, and O Christmas Tree. Andy Ditzler On Mon, Oct 6, 2014 at 5:08 PM, Rebekka Erin Moran rebekka.mo...@gmail.com wrote: Hi, I am researching a project of the use of the Tableau Vivant in experimental or avant-garde filmmaking (history, theory, etc). I am particularly interested in any examples of filmmakers that were investigating the tableau vivant as a reference to a film frame and not to a painting. Also any sub themes that may relate to tableau vivant as a durational film frame or living freeze frame, or a tableau vivant as a non-active scene/image shot stop motion or frame by frame (in camera or optical printed). Any suggestions for readings or names would be greatly appreciated! best, Rebekka Rebekka Moran rebekka.mo...@gmail.com http://www.rebekkamoran.com tel: +345 849 5978 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Projection instruction works: exhibit and screening
For those near Atlanta this weekend, or for those interested in projection instruction works, Film Love presents Projectionist Please Read!, an exhibit of printed materials on projection instructions, accompanied by a screening of Morgan Fisher and a presentation of Hollis Frampton's A Lecture. More info: http://www.frequentsmallmeals.com/ProjectionistPleaseRead.htm Facebook event: https://www.facebook.com/events/817549774952645/ -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Malcolm Le Grice contact?
Hi all, I'm making a second request here, in case anyone has contact info for Malcolm Le Grice. Messages to Central St Martins in London are bouncing, so if anyone has further ideas I'd be grateful. Thanks! Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Le Grice - received contact info, thanks
Got the info. Thanks! -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] seeking Malcolm Le Grice
Does anyone have email or other contact info for Malcolm Le Grice? Thanks, Andy Ditzler -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] seeking Morgan Fisher contact
Hello, I am trying to screen Morgan Fisher's Projection Instructions and understand that it's only available directly from him. Could anyone share contact info with me? Thanks, Andy Ditzler -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] projecting 16mm at 16 fps
Does anyone have advice for finding reliable and bright 16mm projectors that run at 16 fps? This is for a potential screening of Warhol's Empire. I have shown Warhol's other silents at 18 fps (using the common model Kodak Pageant). But i need 16 fps in order to maintain Empire's correct running time of eight hours. I seem to recall an earlier Frameworks discussion on modifying Eiki projector speeds by adjusting a belt, but cannot locate that thread in a search. Any advice appreciated. Thanks, Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] seeking Johan Kugelberg
I'm seeking email contact for Johan Kugelberg of Boo-Hooray gallery in New York. Any leads appreciated. Thanks! -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] seeking Ken Eisenstein
Does anyone have contact information for Hollis Frampton scholar Ken Eisenstein? Thanks, Andy Ditzler -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] CBS goes Underground
Thanks for posting this. A DVD of this was recently issued by Boo-Hooray as part of their Piero Heliczer-themed Dead Language Press bibliography. What's interesting for Velvets fans is that this appears to show Angus MacLise and Maureen Tucker playing with the Velvets at the same time. Does anyone know the person shown playing bass at 1:18 in this video? I don't recognize him. Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Fri, May 30, 2014 at 7:08 PM, Jeff Kreines j...@kinetta.com wrote: Thanks to Saul Levine for finding this. Wow! Brakhage, Mekas, Warhol, Sedgwick, and the Velvets (without sound), and more -- along with a little bloviating from Willard Van Dyke. The Making of an Underground Film from CBS Evening News with Walter CronkiteThe Making of an Underground Film from CBS Evening News with Walter Cronkite, broadcasted on 31st December 1965. Featuring Jonas Mekas, Piero Heliczer with V... https://www.youtube.com/watch?v=DS7knWefSiQ Jeff Kreines Kinetta j...@kinetta.com kinetta.com kinettaarchival.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Sleazeball attacks on avant-garde film
It's worth noting that Time/Life always saw itself as protecting mainstream (American) moralities, including sexual, by this treatment of underground and bohemian arts and subcultures. Underground film was certainly one, Beat poetry and culture another, as was the gay world. There's an article on all the emerging Beat writers from sometime in 1958 I think, just before Naked Lunch was published. It pulls the same bait-and-switch that David Tetzlaff describes - unremittingly nasty and then suddenly some respectful words about Burroughs' talents. This happened over and over again. By the mid-80s they were making fun of Ginsberg's partial paralysis, describing his face as one [eye] wide and innocent, gazing at eternity; the other narrowed and scrutinizing, looking for his market share. (Quote in Barry Miles' biography.) Of course, Ginsberg had early on attacked Time in his poem America (Do you want your emotional life to be run by Time Magazine?). And watch Pennebaker's Dont Look Back if you want to know how Bob Dylan feels about Time. And what Chuck says is also true: even negative articles were valuable to people isolated from the phenomena they describe. There's a whole chapter in Martin Meeker's book Contacts Desired devoted to an article Life published in 1964 on gay men in San Francisco, and the impact it had on isolated gay men across the country. Among other things, there was a photo spread of the inside of a leather bar, showing men socializing, and that was a big deal. For those interested, it's at: http://www.solresearch.org/~SOLR/cache/pubn/mag/Life/19640626-Gays.pdf Sorry to take this far out of film - just thinking about one way of contextualizing the underground film articles. Andy Ditzler On Sat, May 31, 2014 at 10:07 PM, Chuck Kleinhans chuck...@northwestern.edu wrote: On May 31, 2014, at 6:24 PM, Jonathan Walley wall...@denison.edu wrote: Okay, here it is: In the Year of Our Ford. Fred was right - the article I cut-and-pasted earlier is nothing compared to this one. It is truly sickening. Why TIME would choose to go on the rampage against handful of avant-garde filmmakers getting small grants at a moment when MUCH weirder stuff was getting much more widespread media attention (and $$) is beyond me. Although Time had unsigned articles back then, you could often determine the reviewer/writer by looking on the masthead staff list. Chuck Kleinhans ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Looking for films about the radio and on air diffusion
The live radio addition to Blonde Cobra is one of the most effective things about it - providing a jarring interjection of the present day into the now fifty-year old film. The first two screenings of Andy Warhol's Sleep featured a transistor radio playing at low volume throughout the film. From the same time period, Barbara Rubin's Christmas on Earth featured a live radio soundtrack. Andy Ditzler www.filmlove.org On Thu, May 8, 2014 at 11:42 PM, Eric Theise ericthe...@gmail.com wrote: Not sure if this is within the bounds of what the original poster had in mind, but this discussion is making me think of the injection of live radio broadcasts into one section of Ken Jacobs' Blonde Cobra. On Thu, May 8, 2014 at 6:52 PM, Mike Kartje mkar...@siu.edu wrote: Guy Maddin's Brand on The Brain! (2006) includes a radio-like aerophone that the mother uses to command and spy on her children. On Thu, May 8, 2014 at 5:06 PM, Peter Snowdon pe...@redrice.net wrote: The King of Marvin Gardens. The Ploughman's Lunch. Valentina Monti has made a series of documentaries about radio stations in Argentina, Afghanistan, etc. http://www.valentinamonti.com On 8 May 2014, at 22:00, Jorge Lorenzo Flores Garza wrote: Jesse Lerner's T.S.H. is a wonderful cutup film-sound piece that uses an old avant-garde Mexican poem by Kyn Tanilla from the 20's that talks about the first radio transmission in Mexico. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Mike Kartje Southern Illinois University Carbondale (618) 303-5154 mkar...@siu.edu ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] animals and human-animal relationships on film
Horse (Andy Warhol) uses the mere presence of a horse (along with costumes and other elements, but primarily the horse) to visually denote the film's status as a Western - possibly a distancing tactic in the way you suggest, since inter-human violence (instigated from offscreen) certainly is a subject of the film, and there is a definite animal-human interaction as well. Lucien Taylor's and Verena Paravel's recent film Leviathan is an immersive record of the activity (animal and human) on and around a fishing vessel at sea. Guy Sherwin's Animal Studies series, available from Canyon. Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Wed, Apr 23, 2014 at 11:05 AM, sarah browne sarahjbro...@yahoo.iewrote: Dear Frameworkers, I'm looking for some help in compiling a list of films that feature animals or human-animal relationships on film. Rather than wildlife documentaries (with some exceptions!) I'm more interested in the animal presence as an a kind of distancing tactic that allows for reflection on inter-human behaviours (ethics, empathy, violence). Arthouse or experimental material more than Babe. Any tips very gratefully received! Best wishes, Sarah Browne www.sarahbrowne.info www.kennedybrowne.com * Hand to Mouth* CCA Derry-Londonderry until 24 May 2014 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Films about remediation
Common examples of film containing/being contained by still photography would include (spoiler alert) Wavelength's reduction of film to a still photograph in its final minutes (mirroring the still images on the film strip), and Morgan Fisher's Production Stills, which photo-documents its own making. Also check David MacDougall's Photo-Wallahs. Malcolm LeGrice's performance of After Leonardo 73-13 at Eyebeam last November centered on multiple (live) video reproductions of a magazine reproduction of the Mona Lisa. Warhol's Screen Tests are filmic meditations on an (ostensibly) unmoving subject per still photography portraiture. Scott Stark's Angel Beach and Posers, as well. Too many others to mention! Warhol's Outer and Inner Space is a classic film/video merger. Many of Yoko Ono's film scripts cannot necessarily be realized as films and must be performed rather than filmed. A recent Contraband Cinema show here in Atlanta presented some newer VCR-derived digital work: http://contrabandcinema.com/400/broken-beauty-a-show-on-glitch-march-22-2014.html Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Wed, Apr 2, 2014 at 4:16 AM, Kim Knowles kim.know...@edfilmfest.org.ukwrote: Dear Frameworkers, Does anyone have any suggestions of films that involve remediation of some sort? I'm thinking the fusion of analogue-digital (which I've posted about before so I have some titles already - Shambhavi Kaul's *Scene 32*, Thorsten Fleisch's *Wound Footage*, Jurgen Reble, Dietmar Brehm), but I'm also interested in earlier examples of one medium/format being contained within or reworked by another medium, for example Martine Rousset's *Chants *or Malcolm Le Grice's *Little Dog For Roger*. Any suggestions would be greatly appreciated! Many thanks Kim === 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. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Paul Sharits multi-projection question
Dear Ekrem, I rented and showed Shutter Interface to my students last fall, and will do so again in a few months. In preparation, I talked to some folks who have also taught the film (hi Jeanne Liotta!) and went looking through all the Sharits writings I could find for any reference to the difference between gallery and theater versions, but found very little on this. I have the same rationale - he made the two-projector version and it remains rentable, so I rent it and show it. It's a super-accessible work. A couple of things - the written instructions you get from Film Coop inside the film can are ambiguous. Use version A. Version B mentions the effect of making the two frames slowly merge on screen - but gives no instructions for how to accomplish this. (Maybe someone here can clarify?) And the soundtrack needs some extra care, since each projector will have its own sound. So if you are running it through the house PA, you will need to configure the channels so it's stereo sound, not mono. I couldn't access the house PA for this, so my solution was to bring two powered monitor speakers of my own, and run 1/4 out from each Eiki projector to its corresponding speaker. More work, but as you know that's what you're getting into with expanded cinema anyway. By the way, the sound happens only on the black frames. If you know that as you're watching the work, it's even cooler. It's a fantastic projection experience and we all loved it. I left some room behind the projectors for the students to go and observe the color frames as they moved through the projector. If you can see that as you observe the screen, there's no more spectacular lesson in the nature of film projection (that is, the conversion of still frames to motion). Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Tue, Apr 1, 2014 at 1:02 AM, Ekrem Serdar ekremser...@gmail.com wrote: Heyya Framers, So based on his notes, it seems that many of Paul Sharits' multi-projector pieces (Shutter Interface, Dream Displacement, among others) are primarily conceived as installations. However, as many of you know, there are also theatrical versions of these films, using two projectors instead of four, and foregoing other alterations to the machines. (There's a bunch of these over at Filmmakers Coop.) The question: Would you say its correct that Sharits made these black box versions to simply give the films an expanded (hoho) life, especially during a time period when film projection was a rarer sight in galleries? So not necessarily the intended version, but a different (and obviously more accessible) way to showcase his ideas. I hear this might be a sensitive subject; but the way I see it is that he did make the prints, and as long as it's presented appropriately no problem. We'll be showing the two-projector version of Shutter Interface in Austin next week (which i had the pleasure of seeing at Hallwalls some years back), so just preparing. -- ekrem serdar austin, tx ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Paul Sharits multi-projection question
Thanks, Peter and Herb, for these clarifications. Looking back at Sharits' instructions, the only confusing thing is he asks the projectionist to follow a separate diagram of how to project Version B, and this diagram is not included. But I agree that you can work out how to do Version B from his verbal description, albeit with some keystoning. Andy Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Tue, Apr 1, 2014 at 10:15 AM, Herb Shellenberger he...@ihphilly.orgwrote: What Peter said. Version B was accomplished at a screening here with relatively little difficulty a few years ago just by tilting the projectors, which were running in the middle of the stadium seating, rather than from the booth, to the side a little at timed intervals. The instructions give the times. I believe the keystoning was pretty minor, but that's not the point anyway. Seeing the gradually overlapping images was really interesting, especially when they were fully on top of each other. Peter Kubelka's Monument Film screening at NYFF 2012 also used the technique of projecting flicker films directly on top of each other. As to Ekrem's original question, I don't have anything to add unfortunately. *Herb Shellenberger* *Programs Office Manager* [image: cid:image001.jpg@01CE5258.78B1F010] 3701 CHESTNUT STREET | PHILADELPHIA, PA 19104 phone: 215.895.6575 | fax: 215.895.6562 email: he...@ihphilly.org | web: www.ihousephilly.org *From:* FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] *On Behalf Of *Peter Mudie *Sent:* Tuesday, April 01, 2014 9:56 AM *To:* Experimental Film Discussion List *Subject:* Re: [Frameworks] Paul Sharits multi-projection question Andy - you slowly move the left projector to the right and the right projector to the left until the frames align as one. Peter (Perth) *From: *Andy Ditzler a...@andyditzler.com *Reply-To: *Experimental Film Discussion List frameworks@jonasmekasfilms.com *To: *Experimental Film Discussion List frameworks@jonasmekasfilms.com *Subject: *Re: [Frameworks] Paul Sharits multi-projection question Dear Ekrem, I rented and showed Shutter Interface to my students last fall, and will do so again in a few months. In preparation, I talked to some folks who have also taught the film (hi Jeanne Liotta!) and went looking through all the Sharits writings I could find for any reference to the difference between gallery and theater versions, but found very little on this. I have the same rationale - he made the two-projector version and it remains rentable, so I rent it and show it. It's a super-accessible work. A couple of things - the written instructions you get from Film Coop inside the film can are ambiguous. Use version A. Version B mentions the effect of making the two frames slowly merge on screen - but gives no instructions for how to accomplish this. (Maybe someone here can clarify?) And the soundtrack needs some extra care, since each projector will have its own sound. So if you are running it through the house PA, you will need to configure the channels so it's stereo sound, not mono. I couldn't access the house PA for this, so my solution was to bring two powered monitor speakers of my own, and run 1/4 out from each Eiki projector to its corresponding speaker. More work, but as you know that's what you're getting into with expanded cinema anyway. By the way, the sound happens only on the black frames. If you know that as you're watching the work, it's even cooler. It's a fantastic projection experience and we all loved it. I left some room behind the projectors for the students to go and observe the color frames as they moved through the projector. If you can see that as you observe the screen, there's no more spectacular lesson in the nature of film projection (that is, the conversion of still frames to motion). Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Tue, Apr 1, 2014 at 1:02 AM, Ekrem Serdar ekremser...@gmail.com wrote: Heyya Framers, So based on his notes, it seems that many of Paul Sharits' multi-projector pieces (Shutter Interface, Dream Displacement, among others) are primarily conceived as installations. However, as many of you know, there are also theatrical versions of these films, using two projectors instead of four, and foregoing other alterations to the machines. (There's a bunch of these over at Filmmakers Coop.) The question: Would you say its correct that Sharits made these black box versions to simply give the films an expanded (hoho) life, especially during a time period when film projection was a rarer sight in galleries? So not necessarily the intended version, but a different (and obviously more accessible) way to showcase his ideas. I hear this might be a sensitive subject; but the way I see it is that he did
Re: [Frameworks] banned films?
Brakhage's Lovemaking was not banned; rather, Stan pulled it from distribution himself. (source: Scott MacDonald's Critical Cinema interview) I recently screened Jan Nemec's A Report on the Party and the Guests - one of a handful of Czech 60s films to receive the official designation banned forever from the government there. (Obviously, forever didn't last.) (Accounts differ on what the other films were, but some include Evald Schorm's Courage Everyday.) It can be tricky separating out (speaking about here in the U.S.) instances of outright banning from neglect and suppression for commercial reasons, from censorship by private as well as government agencies. My understanding is that L'Age D'Or was unavailable for decades because Bunuel's patron was scandalized by it, more than from any ban. (The effect, of course, is the same.) It also can be hard to find concrete evidence of banned films. For example, Fuses is the kind of film that seems like it would have run into problems, but I don't recall ever reading accounts of outright banning (as opposed to the many instances of audience outrage). Same with Christmas on Earth - intended to be destroyed by its author, yes, but actually banned? A few years ago, my collective presented a site-specific screening of Warhol's Lonesome Cowboys, near the site of its 1969 bust by Atlanta (and Georgia state) police. The film was seized, the projectionist arrested, and the audience was lined up and photographed (yes!). The film re-appeared later in the year, with cuts (according to Variety). I think that counts as censorship (of the whole film as well as the cut scenes). Un Chant D'Amour was according to historical accounts intentionally projected by Mekas together with Flaming Creatures to trigger a bust and court case which he thought could be won. Genet's literary reputation was key in that gambit. My understanding of Frank's Cocksucker Blues is that it was suppressed by the Stones themselves. Perhaps others on the list will know more about this. The New York State Censorship Office's rejection of Deren/Hammid's The Private Life of a Cat (for a birth scene) was one of the reasons that Amos Vogel converted Cinema 16 to a private membership club (i.e., film society). With such a club, he no longer had to submit films to the censor board before screening. Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Fri, Mar 28, 2014 at 9:43 AM, Scott Stark sst...@hi-beam.net wrote: Hi friends, I'm looking for ideas for a banned films program for a local (Austin) erotica-based film festival. Flaming Creatures is definitely top of the list. Any ideas for other films that have been banned, censored or otherwise disparaged for risque content? (experimental preferred) thanks, Scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] exp film orgs suggestions
In Atlanta, I present Film Love: www.filmlove.org Often I am showing classics, but I also show recent work, from Atlanta-based to regional/national/international. Many different venues; shows are matched thematically to location when possible. Also in Atlanta, Contraband Cinema shows mostly new work by younger filmmakers but also some classics. http://contrabandcinema.com/ Peripheral Visions is based at Georgia State University and hosts filmmakers, some experimental (hi Roger Beebe!). http://peripheralvisions.org/ Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Tue, Mar 11, 2014 at 6:29 PM, Huckleberry Lain huckleberryl...@gmail.com wrote: Hello friends I'm putting together a lecture for USC at the end of March and I'm organizing a list of micro-cinemas, exp film orgs and periodicals for young filmmakers to get to know. I'm mainly looking for organisations that are supportive of *young *filmmakers like Echo Park Film Center, but I'm also including some places they can go to watch important classics like PFA (I'm staying away from film festivals). Here's my current list (I know I'm forgetting a bunch): LA Filmforum Echo Park Film Center Academy Film Archive Anthology Film Archive Pacific Film Archive Millennium Film Workshop Artists Television Access Light Industry RedCat Harvard Film Archive MoMA Pittsburg Filmmakers Filmmaker's Co-operative ABC No Rio Black Hole Cinematheque Lux Center for Film and Video Art CineWest MoCA Pasadena's Armory Center for the Arts SF Cinematheque OtherCinema iotaCenter CVM ReVoir Frameworks - hi-beam.com 40 Frames Dublab Prelinger Archive OtherZine Millennium Film Journal Bomb! LA Record Thanks for your help! ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Installation works that incorporate hand-painted film
Robbie Land recently had a looping 16mm installation of his Bioluminescence film as part of the show of Hudgens Prize finalists here in Georgia. Robbie is on the list and perhaps can articulate it better than I, but it's close to, really part of, the tradition of handmade film even though it's not handmade animation per se. (The film is in two parts, exposed first by fireflies, then by growing mushrooms/fungi.) The looping film was accompanied by filmstrips of the same work displayed in a lighted case. Jennifer Reeves has done looping installations of her handmade animations, such as Light Work Mood Disorder. In 2005 Lynn Marie Kirby did a looping installation at Eyedrum in Atlanta, called Views from the center before and after Edison. Artist's description: For Eyedrum, 16mm film was exposed without a camera to the light of I-75 in Atlanta, the North-South Interstate, the path of the old Dixie Highway. Visible in the gallery are both a film loop of the original 16mm Atlanta exposure and that original document transformed through a performance on a film-to-digital transfer machine. Also present in the gallery is a sound recording of my arrival in Atlanta. This magnetic tape recording is seen as a physical material in space rather than heard as it unfolds in time. The 16mm looped onto a curved screen suggestive of the Cyclorama, at the bottom of which was the audio tape of her arrival in Atlanta, strewn from the reel onto the floor. Lynn described her exposure of the film on the highway as performative, so both performance and installation are involved here. If you count as text the artist's statement, which was posted with the piece (or if you consider the presence of spoken words on the audio tape - even if it can't be heard because the tape is unspooled); and if you include a by-hand, cameraless film exposure in your criteria for item #3, then if I'm not mistaken Lynn's installation hits *all six* items on your list. Hooray! Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University Film Love presents classics of the Czechoslovak New Wave February 28 - March 4, 2014 http://www.frequentsmallmeals.com/Nemec.htm On Tue, Feb 25, 2014 at 8:20 AM, Adam R. Levine ada...@gmail.com wrote: Dear Frameworks, This is a very specific RFI but I am looking for artists or works that check as many (at least two, let's say) of the following boxes as possible, listed in order of preference: 1. Installations or possibly live performances... 2. ...That incorporate abstract footage (preferably 16mm loops) 3. Hand painted, scratch film, or hand animation 4. Sculptural elements or constructed environments 5. Use of text or voice 6. Preferably by female artists or filmmakers Like I said - specific. But perhaps you can help. Many thanks, Adam ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Films and videos about music fan culture
Kyle Keyser made a video about a PJ Harvey tour, by convincing her record company/management that he was a filmmaker: http://vimeo.com/4977022 Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Sat, Feb 8, 2014 at 3:33 PM, Adam R. Levine ada...@gmail.com wrote: Hi Frameworks, I am looking for suggestions for work by or about music fans, films that explore an individual's personal connection to a band or recording artist, perhaps even films that take a critical look at ideas of music performance or rock stardom. If you've made such a work yourself, feel free to mention it or send me a link. Some things I've considered, to give you a sense: Jeremy Deller - *Our Hobby Is Depeche Mode*/*The Posters Came From The Walls* William E. Jones - *Is It Really So Strange?* Dan Graham - *Rock My Religion* Mark Leckey - *Fiorucci Made Me Hardcore* Alan Zweig - *Vinyl* Matt Wolf - *Teenage* Thanks so much for your help, Adam ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] women and crime
Anna Karina in Godard's Pierrot le Fou Juliette Lewis in Natural Born Killers Lindsay Crouse in House of Games Thelma and Louise Arsenic and Old Lace Jeanne Dielman Andy Ditzler On Thu, Jan 23, 2014 at 3:37 PM, Barbara GMX barbara.kapu...@gmx.at wrote: Hello everyone, I´ve been following your discussions and conversations for some time and I´m amazed! Thanks for all the great input! Now I´ve got a question: Do you have any good suggestions for crime films/documentaries, also videos, short and experimental film, where either the detective or the thief/gangster/con artist is a woman. Especially interesting would be groups of women. Thank you! Barbara ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Looking to build a list of 'Experimental Documentaries' on video
Jean Rouch should definitely be mentioned, especially Les Maitres Fous, Jaguar, and Chronicle of a Summer - as he influenced Godard and the French New Wave. The unavailability of his films in the U.S. has eased in recent months due to institutional DVD copies being made available through Icarus. Much ethnographic film from various eras would apply: The Ax Fight (self-reflexivity) and To Live With Herds (observational cinema landmark) come to mind, as does Mead and Bateson's groundbreaking work like Trance and Dance in Bali. Also Robert Gardner's Forest of Bliss and Lucien Taylor's and Verena Paravel's recent Leviathan (for ideas of sensory ethnography). Shirley Clarke's Portrait of Jason, for ideas of changing representation of black and LGBT cultures and figures in documentary. Of course, Black Audio Film Collective's Handsworth Songs and everything by Marlon Riggs. Further away from experimental here, but an argument could be made for This Is Spinal Tap as a pivotal work of fake documentary, with influence far beyond comedy/fiction. Definitively unavailable, and completely pivotal: An American Family. Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Thu, Jan 2, 2014 at 6:19 PM, David Tetzlaff djte...@gmail.com wrote: I'm looking to help a friend do research on the history of documentary, and I'd like to introduce him to some of the more experimental side of the form. For his purposes, the work needs to available on video: he needs to see stuff, not just read about it, and he needs to be able to pull decent quality clips for presentation. So I'm not looking for more purely experimental films that have some actuality footage, but something more readily recognizable under a (very) broad rubric of 'documentary'. Something like Sonic Outlaws' or Odds of Recovery would be pretty central examples. About as far down the experimental scale I'd want to get would be such films as Window Water Baby Moving or Sink or Swim. (Thus, for example, Thigh Line Lyre Triangular is too 'far out' for this purpose.) I'd also welcome suggestions for essay-form docs beyond Marker (which I've already got). Another example of such might be Mulvey's 'Frida Kahlo / Tina Modotti With those loose guidelines, feel free to recommend away without worrying too much about the 'fit'. I can/will edit the recs I pass on... TIA! ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Films/Videos looking at concepts of work
Jeremy Deller's and Mike Figgis' The Battle of Orgreave. Tom Palazzolo's Jerry: http://www.undergroundfilmjournal.com/tom-palazzolo-jerrys-angry-deli/ Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Tue, Jan 7, 2014 at 5:33 AM, Insa Langhorst insa.langho...@gmail.comwrote: Dear Frameworkers, I would like to build a list of video art and films which look at aspects, concepts and realities of work. One piece I came across recently is Johan van der Keuken's *Temps/Travail *(1999). Does anyone have any other suggestions? Thanks, Insa www.insalanghorst.com +44 778 93 8 22 84 (UK) +49 176 86 74 83 45 (D) insa.langho...@gmail.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Looking to build a list of 'Experimental Documentaries' on video
Hi Roger, I hadn't checked recently and didn't know about this DVD release - thanks for the tip - but it looks like it's a condensed two-hour version of the original 12-hour series. At least something's out there, but nothing can replace the scope of the full series. Sad. Andy Ditzler On Sat, Jan 11, 2014 at 12:23 PM, Beebe, Roger roge...@ufl.edu wrote: RE: An American Family, it's true that it was long unavailable, but it was released on DVD in 2011, so now it needs not simply be the stuff of legend: http://www.shoppbs.org/product/index.jsp?productId=11645510 ... R. On Jan 11, 2014, at 12:16 PM, Andy Ditzler wrote: Jean Rouch should definitely be mentioned, especially Les Maitres Fous, Jaguar, and Chronicle of a Summer - as he influenced Godard and the French New Wave. The unavailability of his films in the U.S. has eased in recent months due to institutional DVD copies being made available through Icarus. Much ethnographic film from various eras would apply: The Ax Fight (self-reflexivity) and To Live With Herds (observational cinema landmark) come to mind, as does Mead and Bateson's groundbreaking work like Trance and Dance in Bali. Also Robert Gardner's Forest of Bliss and Lucien Taylor's and Verena Paravel's recent Leviathan (for ideas of sensory ethnography). Shirley Clarke's Portrait of Jason, for ideas of changing representation of black and LGBT cultures and figures in documentary. Of course, Black Audio Film Collective's Handsworth Songs and everything by Marlon Riggs. Further away from experimental here, but an argument could be made for This Is Spinal Tap as a pivotal work of fake documentary, with influence far beyond comedy/fiction. Definitively unavailable, and completely pivotal: An American Family. Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University On Thu, Jan 2, 2014 at 6:19 PM, David Tetzlaff djte...@gmail.com wrote: I'm looking to help a friend do research on the history of documentary, and I'd like to introduce him to some of the more experimental side of the form. For his purposes, the work needs to available on video: he needs to see stuff, not just read about it, and he needs to be able to pull decent quality clips for presentation. So I'm not looking for more purely experimental films that have some actuality footage, but something more readily recognizable under a (very) broad rubric of 'documentary'. Something like Sonic Outlaws' or Odds of Recovery would be pretty central examples. About as far down the experimental scale I'd want to get would be such films as Window Water Baby Moving or Sink or Swim. (Thus, for example, Thigh Line Lyre Triangular is too 'far out' for this purpose.) I'd also welcome suggestions for essay-form docs beyond Marker (which I've already got). Another example of such might be Mulvey's 'Frida Kahlo / Tina Modotti With those loose guidelines, feel free to recommend away without worrying too much about the 'fit'. I can/will edit the recs I pass on... TIA! ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org www.johnq.org Graduate Institute of the Liberal Arts, Emory University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Yalkut's AQUARIAN RUSHES
David, thank you for this. Andy Ditzler On Wed, Nov 6, 2013 at 8:45 AM, David Baker dbak...@hvc.rr.com wrote: At the Filmmaker's Coop a week ago the fearless indefatigable M.M. Serra along with perspicacious resident scholar Greg Zinman presented (for a tiny group of cognoscenti) the astounding part 2 of a Jud Yalkut Memorial Screening. Like a lightning bolt out of the darkness they projected a pristine print of one of the least seen most amazing masterpieces of counterculture cinema, the fabled AQUARIAN RUSHES (1970), Yalkut's scintillating hybrid distillation of the 1969 Woodstock Music Art Fair. Said to be a favorite of Martin Scorsese, believe it !! AQUARIAN RUSHES is the object of a prolonged endeavor, a grail, wondrous but not explicitly holy, a hybrid of film,video and digital manipulation with psychedelic schisms and otherworldly tactilities, as ecstatic as it is intimate. Yalkut is here a witness wrapped in wonder, an avant-garde filmmaker at the height of his powers of observation, with a fascination for backstage minutiae as well as legendary performances in never before seen oblique angles. As if that wasn't enough, the master of sensory overload, legendary 85 year old multichannel poet Gerd Stern, founder of USCO the Intermedia commune in upstate New York, wandered in with unforgettable stories to tell... meeting Harry Smith eating casaba melons at Jimbo's Bop City in the late 40's. By flashlight, sworn to silence, seeing Harry's art work placed on the floor of his flophouse in San Francisco's Fillmore district before anyone knew he was a filmmaker. Quoting Charlotte Moorman at one of the first Expanded Cinema Festivals in the early Sixties: When you're playing the cello with flowers you have to listen closely. What he did not tell was that he was Maya Angelou's lover, that he had been hospitalized with BOTH Carl Solomon AND Allen Ginsberg, that he worked closely with Harry Partch, that he was the producer of Timothy Leary''s Psychedelic Theater. Nor did he say he had known Jordan Belson, Philip Lamantia, Michael McClure, Harold Edgerton, Dennis Hopper, Ken Kesey, Bob Dylan, Stewart Brand, Charlie Parker, Lenny Bruce, Marshall McLuhan or Huey Newton, but indeed he has. He also failed to mention that he had a bathtub rigged as a waterpipe on his barge in Sausalito, which he got Count Basie high with. M.M. says he's coming back in a couple of months. Do not dare miss Gerd Stern's return. He is one of the greatest raconteur's living on this planet. Just saying, DB ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- Andy Ditzler www.filmlove.org www.johnq.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Lipsett, Night tide and Lonesome
MoMA lists Lipsett's Very Nice, Very Nice in their rental catalog: http://www.moma.org/learn/resources/circulatingfilm#aboutcircfilm Not sure whether they have others of his. Andy Ditzler www.filmlove.org On Sat, Aug 24, 2013 at 6:12 AM, Chen Sheinberg chen...@netvision.net.ilwrote: Dear frameworkers, Does anybody know who distributes the films of Arthur Lipsett? And who distributes “Night Tide” (1961) by Curtis Harrington and “Lonesome” (1928) by Paul Fejos (1928)? Thank you very much, Chen Sheinberg ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] seeking Nick MacDonald's The Liberal War
Hello, I'm looking for leads on the above 1972 film. I seem to recall screenings of it in the past few years, but can't find them now. Any information is appreciated. Thanks, Andy Ditzler www.filmlove.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Video works unviewable due to lost apparatus?
See Callie Angell's article on Warhol's Inner and Outer Space in From Stills to Motion and Back Again, published by Presentation House Gallery, Vancouver. The Warhol videos were done in 1965 on a Norelco slant-scan machine, which no longer exists and apparently cannot be found. (There weren't many made.) As Callie points out in a footnote, Inner and Outer Space (a 16mm film in which some of these videos are seen playing on a monitor) is now the best preservation of any of those videos. She also mentions something I hadn't noticed before - that excerpts from these videos were played as part of a show at the Whitney in 1991. I'm not sure how that was done - perhaps there was still a machine available at the time? Warhol made several of these videos during the time he had the recorder, but I'm not aware of any documentation of what was actually on most of them. Besides the Edie Sedgwick tapes, the only other one of which I'm aware is a haircut video done with Billy Name. Various articles by Callie Angell in other publications mention the tapes as well. Andy Ditzler On Wed, May 15, 2013 at 4:24 AM, Lundgren 50lundg...@telia.com wrote: ** I know that once on this list somebody mentioned that there was a Andy Warhol work that was done on a video system which had no surviving video players. I've tried to search the list unable to find any information. Does anyone know of this and have a decent (preferable academically scrutinize-able) source for it? Or those anyone have examples of other famous artist with video works (or similair) lost due to the fact that we don't have any machines to watch it anymore? Björn Lundgren Sweden ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] drugged
Hi Eric, Try: John Hawkins, LSD Wall (1965) clay animation of a trip (with a dedication to his dealer!) Storm De Hirsch, Peyote Queen (1965) Eric Emerson's monologue sequence in reel 9 of Warhol's The Chelsea Girls is a tour de force, and reportedly was performed under the influence of LSD (though I don't know that he ever confirmed this). It certainly seems that way. Ben van Meter's beautiful film S.F. Trips Festival. Robert Cowan's Rockflow (1967) isn't representational of a trip, but does have trippy movement and imagery - it's a delight. There are clips floating around of a film called Syd Barrett's First Trip. Andy Ditzler On Sat, Feb 9, 2013 at 2:40 PM, Eric Theise ericthe...@gmail.com wrote: Hello Frameworkers, I'm hoping to get suggestions for studying the tropes of the trip, that is to say, the way hallucinatory and other drug experiences have been portrayed on-screen. Flashy, over-the-top visual signifiers are what I seek, but Frameworks excels at identifying examples that aren't what the original poster had in mind, so please go to it! Examples will be put to experimental purposes, but can come from any genre, thanks in advance. Hope all of you affected by the Nemo storm are okay and able to find beauty in it. --Eric ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Journal Filmmakers and Videomakers
Anne Charlotte Robertson made one of the most extensive film diaries; check with Harvard Film Archive on the current distribution status. Andy Ditzler www.filmlove.org On Mon, Feb 4, 2013 at 11:48 AM, Kevin Obsatz ke...@videohaiku.com wrote: Hello Frameworks! I may have the opportunity to teach a short workshop on the Film Journal genre at the University of Minnesota this spring... which means I need to learn more about it first. I would love some suggestions about major practitioners of this form throughout film history, especially those whose work is purchaseable / accessible in a non-print-rental form. I'm also interested in critical writing on the subject. Besides Jonas Mekas, whose work should I be exploring? Thanks very much! Kevin Obsatz www.videohaiku.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] voyeurism / street photography in exp cinema
Hi Matt, It's been awhile since I've seen Rudy Burckhardt's Eastside Summer, but it's spontaneous street photography (lovely, 1950s NYC footage). I wonder, though, if by recording people on the street, etc., you mean that the filmmaker is shooting one particular spot, or one person, or one activity. That would be different than Burckhardt et al. I would think more of the sequence from Jim McBride's David Holzman's Diary for which the cameraman (Michael Wadleigh) shot a handheld 'tracking shot' while walking past a row of park benches, filming the people sitting on them. This documentary footage (a single long take) is then incorporated into the film's fictional context as if it were shot by the film's protagonist. Andy Ditzler On Sat, Jan 26, 2013 at 2:13 PM, matt's frameworks address li...@rodeofilmco.com wrote: Hello Frameworkers, I am trying to drum up a list of films/videos that use voyeurism and/or street photography as a central component. But in typing this I realize that neither 'voyeurism' nor 'street photography' are really the correct words/terms to use for what I am looking for. I am interested in the cinematic equivalent of 'street photography,' specifically films like those made by Nathaniel Dorsky or Jem Cohen, where the filmmaker is filmming/recording people on the street and/or other public places without their knowledge. Voyeurism tends to be associated with watching people in private spaces doing private things, which is not what i am interested in, but the word still lends itself to this query. Any ideas of films, and good words/terms to describe them would be much appreciated! -Matt -- --- www.rodeofilmco.com --- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films featuring projectionists
Famously, the end of the newsreel sequence in Citizen Kane has visible light rays from the booth. There's a projection sequence in 8 1/2. Katherine Hepburn and Spencer Tracy project home movies in Adam's Rib. If memory serves, Colin Firth is seen projecting the final scene of Touch of Evil in Apartment Zero. I believe there's a home movie projection scene in Carnal Knowledge - or perhaps it's slides. There are several projection room sequences in Andzrej Wajda's Man of Marble. There's a projection sequence in Chronicle of a Summer, but I can't remember if the booth is visible in that. Andy Ditzler On Mon, Jan 7, 2013 at 9:55 AM, Pigott, Michael michael.pig...@warwick.ac.uk wrote: Hello there, I'm trying to compile a list of films featuring projectionists or projection boothes. So far it feels like there's a lot less that I thought there was, so I wondered if anybody had any suggestions? Thanks in advance, Michael ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] new critical studies film course in car culture
Much of the first half of Psycho takes place in Janet Leigh's car. She also buys a used car in this film, in an agitated state. The opening nightmare sequence of Fellini's 8 1/2 features Mastroianni trapped in his car, in a traffic jam. This reminds me of REM's video for Everybody Hurts, also featuring a traffic jam. Buster Keaton's driverless car in Sherlock Jr. Len Lye's Rhythm shows a car being constructed in one minute. Matthew Barney's Cremaster series: #2 = Gary Gilmore murder sequence at a gas station - the interior space of the car is extended as a portal #3 = extended demolition derby in lobby of Chrysler building #4 consists of a long car race around the perimeter of the Isle of Man Barney's De Lama Lamina features a moving installation on a trio eletrico float during Carnaval in Rio. The mechanics of the truck carrying the float are heavily involved in the installation. Charlemagne Palestine has a video piece where he rides a motorcycle around an island (Island Song?) over and over, singing to himself. Best, Andy Ditzler On Fri, Dec 14, 2012 at 2:57 PM, Bryan Konefsky bkonef...@gmail.com wrote: Hello Frameworkers - I am in the early moments of developing a critical studies course that looks at different ways the automobile has been imagined in cinema. To this end I'd love to hear from ya'll with titles of films that you think might be useful to explore/expand this idea and readings that might also dovetail themes that might be explored. Do know that my pal Antoni Pinent recently turned me on to a great text titled Car Fetish. OK, let's hear what ya got! best, -- Bryan Konefsky director, Experiments in Cinema el presidente, Basement Films lecturer, Dept of Cinematic Arts UNM visiting lecturer, UCSC board of advisors, Ann Arbor Film Festival ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Robert Nelson film query
Hi Frameworkers, I'm planning a Robert Nelson tribute for August and am wondering about two films listed at Film-Makers' Coop. Both are by Stephen Gebhardt. One is titled Cincinnatti Answer Print and the other is titled Legendary Epics, Yarns and Fables Part 1: Robert Nelson. Both are dated 1969, both are listed as running 11 minutes, both are described as films with Nelson speaking. I'm wondering if these are the same movie or variations on the same material. Does anyone know? Additionally, has anyone on the list seen either of these? Of course, I could rent them, and may do so, but am also interested if anyone has thoughts on them here. Thanks, Andy Ditzler www.filmlove.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] humorous experimental films
I love the humorous/anarchic line in experimental cinema. George Kuchar's video diaries - there are over 200 - are often very funny. I suggest the brilliant Precious Products - when I showed it in February the audience howled at some of George's asides. Robert Nelson of course. His great quote about art having something to do with having a good time (in Scott MacDonald's interview with Nelson, I'm quoting from memory). Jacques Tati is not often mentioned in this context, but Playtime fits right in here. Portrait of Jason has outrageously funny moments amidst all the tension. Andy Ditzler www.filmlove.org On Tue, May 22, 2012 at 10:56 PM, C Colvin quirkys...@hotmail.com wrote: Framerworkers! I'd love to pick your brains. I'm interested to watch more ( learn more about) experimental films that are humorous. Either through physical comedy, sly wordplay/visual combinations, hilarious imagery or anything that has hit your funny bone... I'd love to hear your recommendations. I prefer shorts (less than 20min), but am equally excited about funny moments/scenes in feature length experimental works as well. Thanks so much! Connie Colvin ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Vaudeville silent clowns in experimental film?
Not to forget Bas Jan Ader: http://preview.instantcinema.org/rene/462/Fall-I http://preview.instantcinema.org/rene/470/Fall-II Andy Ditzler On Mon, May 21, 2012 at 12:54 AM, Andy Ditzler a...@andyditzler.com wrote: Great question! Many of Vito Acconci's early-70s actions approach the absurdity of silent comedy, particularly Keaton. Two that come to mind are: Digging Piece http://www.eai.org/title.htm?id=8691 You can view it here: http://www.pbs.org/wnet/egg/209/conceptual/peeps/peeps.html Blindfolded Catching: http://preview.instantcinema.org/rene/286 Andy Ditzler On Sat, May 19, 2012 at 3:27 PM, Shona Masarin shonamasa...@hotmail.comwrote: Hello all, Does anyone know of any experimental films that have explored vaudeville, slapstick and/or silent era clown films (eg. Buster Keaton) in some way or another? I am working on a collaborative dance film with choreographer, Cori Olinghouse, who has been studying movement forms like eccentric dance, mime, and voguing. Our film will seek to invoke the spaces of Vaudeville through a Dada/Surrealist eye. We are attracted to the way these two forms share aspects of humor, oddity, and slapstick. Here's a link to a preview of our film project on our Kickstarter page: http://www.kickstarter.com/projects/139958170/ghost-line Some films that have inspired us thus far are Hans Richter's Ghosts Before Breakfast and Anna Halprin in James Broughton's Golden Positions. Any leads will be greatly appreciated! Thanks! Shona Masarin www.shonamasarin.com shonamasa...@hotmail.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Flicker Films
If I remember correctly, Andrew Noren's Imaginary Light (1995) has a regular flicker pattern for a substantial part of its length (approximately thirty minutes). Consider Andy Warhol's early silent films - the required projection speed, 16 or 18 fps, introduces a slight flicker (very subtle in comparison to what we would consider flicker film). Warhol's strobe cuts in later films such as Nude Restaurant (1968) and Lonesome Cowboys (1969) are a different kind of flicker effect. I like the Newsreel Collective logo which appeared at the beginning of their films, accompanied by the sound of a machine gun - flicker in the service of the revolution. Brian Frye's Lachrymae (2000) is a nice counterpart to flicker films - as I believe Fred has pointed out elsewhere, the onscreen fireflies are an evocation of film projection. Andy Ditzler Atlanta, GA www.filmlove.org On Tue, Apr 24, 2012 at 12:13 PM, LJ Frezza ljfre...@gmail.com wrote: Hello again gentlepeople, I'm looking to put together a survey of pioneering flicker films, as well as contemporary works, all preferrably on celluloid, and I was wondering if you guys were interested in throwing a few suggestions my way. I have a few ideas of my own, of course, but I always like to see what Frameworks thinks about these sorts of things -LJ -- ljfre...@gmail.com / 904.762.8300 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Andy Ditzler performs James Nares, April 13
For Atlanta-area Frameworkers - This Friday I will perform Desirium Probe by filmmaker/artist James Nares: the first performance of the work since 1978. Info and 'trailer' at: http://www.frequentsmallmeals.com/Nares03_DesiriumProbe.htm Plus, we are co-hosting Craig Baldwin on Thursday! http://www.frequentsmallmeals.com/Baldwin.htm Best, Andy Ditzler Atlanta, GA www.filmlove.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] seeking contact info
Hello all, I am seeking contact information for: Joan Jonas Eric Bogosian Amy Taubin This is in relation to a performance work by the artist and filmmaker James Nares, titled Desirium Probe. The work was performed by Nares in 1977 and 1978. If anyone here on the list happened to attend either of the performances Nares gave (at Ms. Jonas' loft and at The Kitchen), and would be willing to talk with me, I would be grateful. (I'm already in touch with Mr. Nares about it.) Thanks, Andy Ditzler www.filmlove.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Beth B Scott B films
Hello, I'm trying to track down a distribution source for the 1970s/early 80s films of Beth B and Scott B, particularly Letters to Dad, G Man, and Black Box. Also, while I'm at it, John Lurie's Men in Orbit. Thanks for any leads! Andy Ditzler Atlanta, GA www.filmlove.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
