[Frameworks] Laser printing tutorial

[Beebe, Roger W.]

All,

I made this very quick (& very dense) tutorial about laser printing on 16mm 
leader to take the place of a class visit at the University of South Carolina 
that was canceled when the world shut down.  I originally thought I’d just 
share it with the students in the class, but then I posted on FB, where folks 
seemed to find it useful, so I figured I’d share it here as well.  If you’re 
teaching 16mm & your students no longer have access to gear or if you’re in 
that situation yourself, maybe it’ll suggest one way you can keep on making 
work on film:

https://vimeo.com/402644336/578a9aab08

There’s a much longer version of this that I do as a workshop (between 3 hours 
and 4 days(!)), so do know that this 10-minute primer is just the tip of the 
iceberg.

(And if you don’t have clear leader, I’m assuming Larry Urbanski or Dwight Cody 
could still hook you up during the lockdown—likely a lot easier to get your 
hands on than raw stock, a camera, a functioning lab or darkroom chemistry, 
etc.).

FYI,
Roger
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[Frameworks] FW: New Museum Home Delivery

[Beebe, Roger W.]

All,

Just got this from the New Museum offering invites to an online-only screening 
& conversation tomorrow (Thurs, 7 pm [Eastern, I assume]) about Gene 
Youngblood’s Expanded Cinema.  See below for instructions on how to get 
connected to the event.

FYI,
Roger

From: New Museum 
Reply-To: New Museum 
Date: Wednesday, March 18, 2020 at 12:05 PM
To: Friend 
Subject: New Museum Home Delivery

View this email in your 
browser
[https://mcusercontent.com/c6bf7cce2a64f8749424edd72/images/deacffac-7ee6-447a-8fec-f9660691c2e1.gif]

[https://mcusercontent.com/c6bf7cce2a64f8749424edd72/images/8aad383b-e11d-4a11-93b7-ccafe6c8f43c.jpg]

[https://mcusercontent.com/c6bf7cce2a64f8749424edd72/images/439ebc68-aaba-4513-b4b8-93208232ab13.jpg]


During this extraordinarily difficult moment, as we take necessary precautions 
and adapt to the myriad challenges presented by the Coronavirus, we hope 
everyone in the New Museum family stays safe. While the Museum remains closed 
temporarily, we want to share some of the ways in which we will stay connected 
with special digital content in regular newsletters and via our social media 
channels. Art and ideas can lift our spirits during this unprecedented time.
You can explore our current shows from home with our audio 
guide,
 which includes recordings by artists Peter Saul, Jordan Casteel, and Daiga 
Grantina, along with New Museum curators. You can also check out the embedded 
content below.
We will continue our engagement online and look forward to seeing you again 
when we reopen. Thank you for being a friend of the New Museum.


JORDAN CASTEEL UP CLOSE

[https://mcusercontent.com/c6bf7cce2a64f8749424edd72/_compresseds/a03b9c5f-fdf3-4511-9c1a-9e8e40e8cabc.jpg]
READ a 
profile
 of Casteel in the New York Times.

LISTEN to Casteel’s 
description
 of Jiréh, 2013.

WATCH Casteel in 
conversation
 with Massimiliano Gioni.

FLIP THROUGH Casteel’s 

Re: [Frameworks] Cameraless film in the university

[Beebe, Roger W.]

Albert,

I’ve taught a cameraless filmmaking class every few years for the last decade 
or so at two large public universities in the US (the University of Florida and 
Ohio State University).  That class is definitely not industry-oriented—it’s an 
end in itself (i.e., fully in the experimental film tradition).  I have also 
taught it as a one- or two-week module in other classes, usually just to give 
students a sense of film material.

I don’t know how widely spread this practice is, but my sense is there are 
enough folks like me situated at public universities who sneak this in in one 
way or another.

Best,
Roger

__
Roger Beebe
Professor and Graduate Chair
Department of Art
The Ohio State University



From: FrameWorks  on behalf of Albert 
Alcoz 
Reply-To: Experimental Film Discussion List 
Date: Wednesday, February 12, 2020 at 6:59 AM
To: Experimental Film Discussion List 
Subject: [Frameworks] Cameraless film in the university

Hello,

Does anyone know if cameraless film is a common subject at university?

I am investigating the role of cameraless film in the studies of Fine Arts and 
Media Studies.

Most of cameraless film workshops are organized by art centers, alternative 
spaces or private film schools but i wonder the role it has within the 
university.

Is it taught as a technique that can be applied in the audiovisual industry 
(such as video clips, advertisements, fiction animated films, etc.) or as a 
line to develop artistic projects or personal film developments?

Would be great to know personal experiences concerning teaching this animation 
technique related to experimental cinema.

Best,
Albert
--
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Re: [Frameworks] Simple software that allows exploratory movements "across" a digital still image, as achieved by a conventional / antique rostrum Camera - like a Ken Burns shot

[Beebe, Roger W.]

David,

Pretty much any editing system in 2019 will allow you to animate movement 
across a still frame.  In Premiere, you just set start and end keyframes in the 
Motion settings & can zoom in, track across, etc.  You can make the movement 
linear or even accelerate in & out.  Pretty basic stuff these days.

Here’s a little online tutorial, or you could hire any kid with a degree in 
film to walk you through the basics:

http://www.annenbergdl.org/tutorials/how-to-add-a-ken-burns-effect-in-premiere/

Definitely glad not to have to do this the hard way (although now it’s almost 
too easy!)

FYI,
Roger

From: FrameWorks  on behalf of Holcus 
Ltd 
Reply-To: Experimental Film Discussion List 
Date: Monday, December 16, 2019 at 4:09 PM
To: 'Experimental Film Discussion List' 
Subject: [Frameworks] Simple software that allows exploratory movements 
"across" a digital still image, as achieved by a conventional / antique rostrum 
Camera - like a Ken Burns shot

Re. Simple software that allows exploratory movements "across" a digital still 
image, as achieved by a conventional / antique rostrum Camera - like a Ken 
Burns shot

A lot of water under the bridge, but greetings to any surviving members who 
might remember me / my idiosyncratic and now prehistoric contributions.
And I suppose seasonal greetings are in order, if applicable.

I’m looking for and have not yet found software that allows one to explore a 
still image, like a Ken Burns rostrum camera shot – I know he’s not the flavour
of the month for many pure experimentalists – but invoking his name / oeuvre is 
an efficient metaphoric descriptor for my digital desire.

The film resulting from a successful suggestion will entitle the suggester 
(sic) to a healthy acknowledgement in the credits which otherwise would name 
only
Yours truly and now,

Cordially

David Woods

Dr. David Woods
Holcus Ltd*
16 John Street
Kingston Square
HULL   HU2 8DH
East Yorkshire UK
Tel. 44 1482 580290 cel 07908834250
dwo...@holcus.karoo.co.uk
*  Home of The Holcus Effect (THE)
PS the first THE MOVIE could see the darkness of a modified cinema in 2021

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Re: [Frameworks] Filmmakers who use(d) visual scores or other forms of notation

[Beebe, Roger W.]

Not exactly what you’ve asked for, but there was a pretty interesting 
exhibition of visual scores (for music) at the Miller Gallery at Carnegie 
Mellon a few years ago:

http://millergallery.cfa.cmu.edu/exhibitions/aftersound/

FYI,
Roger

From: FrameWorks  on behalf of Alix 
Blevins 
Reply-To: Experimental Film Discussion List 
Date: Wednesday, October 2, 2019 at 6:48 PM
To: "frameworks@jonasmekasfilms.com" 
Subject: [Frameworks] Filmmakers who use(d) visual scores or other forms of 
notation

Hello Frameworks,

I'm working on a project and looking for references of filmmakers whose works 
employ visual scores and/or other graphic notation in making films (e.g. Kurt 
Kren, Rose Lowder).

Any suggestions are appreciated!
Alix Blevins
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Re: [Frameworks] Hole punchers for film

[Beebe, Roger W.]

Morgan,

It's pretty easy to find hole punches in lots of different sizes.  Here's an 
odd one that might be an interesting tool to have around (if it punches film 
cleanly):

https://www.amazon.com/Sized-Heavy-Leather-Pliers-Punches/dp/B07D28DBC6/

It's made for leather, so who knows how it'll handle film.  Really lots of 
options out there if you just search "small hole punch."  Craft stores like 
Michaels tend to stock several sizes & shapes too...

FYI,
Roger

On 7/6/19, 6:56 AM, "FrameWorks on behalf of Morgan Hoyle-Combs" 
 
wrote:

Hello hello

I was going to make some scratch films with a few rolls of super 8 and I 
was wondering if there where any hole punchers for that specific gage. Paper 
hole punchers used in office cubicles are too big for super 8. 

Thanks in advance 

M
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Re: [Frameworks] Lens repairs?

[Beebe, Roger W.]

I just had a projector lens repaired by the folks at Visual Products in 
Wellington, OH & have no complaints:

http://visualproducts.com

FYI,
Roger

On 6/27/19, 4:58 PM, "FrameWorks on behalf of Morgan Hoyle-Combs" 
 
wrote:

Hello all. 

Sorecently I was testing a telephoto lens on my Cine Kodak Special and 
noticed that I couldn't advance my f stop. When I looked inside, as in looking 
through the lens with a light source, I notice that one of the iris shields had 
come off and was trapped inbetween the aperture ring. I'm afraid to touch it at 
this point. 

Would anyone know of a place that repairs lenses for Cine cameras? I reside 
in New England.

Thanks!

M
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Re: [Frameworks] Super 8 Processing and Scanning

[Beebe, Roger W.]

I can confirm Metro Post scans super 8 as well—I had them do some for me last 
summer.

FYI,
Roger

From: FrameWorks  on behalf of Martin 
Awano 
Reply-To: Experimental Film Discussion List 
Date: Saturday, June 22, 2019 at 12:17 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] Super 8 Processing and Scanning

Thanks for the recommendation. They seem to only list gauges 16mm and above, 
but I'll call on Monday.

On Sat, Jun 22, 2019 at 1:07 AM FrameWorks Admin 
mailto:framewo...@re-voir.com>> wrote:
Hi Martin,
I use Metropolis in New York.  I even ship there from Paris and Seoul.
Their contact info is below.
Pip Chodorov

Metro Post
115 West 30th Street #1205
New York NY 10001
Tel: 212-563-9388



On Jun 22, 2019, at 12:59 PM, Martin Awano 
mailto:awano.mar...@gmail.com>> wrote:

Hi Frameworkers,

I have three recently exposed rolls of Kodak 50D Super 8 and am looking to get 
them processed and scanned. I am not looking for a DIY solution but would 
appreciate suggestions for labs. Does anyone have labs they could vouch for 
(shipping from NY)? I am looking to save money but not at the cost of good 
quality.

Sincerely,
Martin
--
martin awano
www.martinawano.com
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[Frameworks] upcoming tour dates

[Beebe, Roger W.]

All,

Just a quick heads up that starting tonight at the Echo Park Film Center, I’ll 
be doing a string of shows as I head home from California to Ohio.  The shows 
will be mostly brand-new work, completed over the last 10 weeks during my 
residency at the Headlands Center for the Arts, including the 4 x 16mm 
performance “Lineage (for Norman McLaren)” and the “desktop cinema” essay 
“Amazonia” (largely shot on super 8 Kodachrome—back when that was still 
possible!).  Dates and venues are below.  If you find yourself in any of these 
cities, do come out and say hi.

Best,
Roger

Sunday, May 19:  Echo Park Film Center (Los Angeles, CA):  
http://www.echoparkfilmcenter.org/events/amazonia-a-night-of-new-films-by-roger-beebe/
Tuesday, May 21:  Exploded View (Tucson, AZ):  
http://explodedviewgallery.org/2019/05/09/tuesday-521-amazonia-roger-beebes-new-multi-projector-16mm-films/
Thursday, May 23:  The Screen at the Center for Contemporary Arts (Santa Fe, 
NM):  
https://ticketing.us.veezi.com/purchase/6186?siteToken=fm2xrgdyx0j1rsttcxp3b5efm4
Sunday, May 25:  The Texas Theatre (Dallas, TX):  
https://thetexastheatre.com/film/everything-old-is-new-again-film-works-by-roger-beebe/
Monday, May 26:  minicine (Shreveport, LA)
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Re: [Frameworks] experimental essay films and one other question

[Beebe, Roger W.]

Peter,

I agree with Albert’s response that you probably don’t need the qualifier 
“experimental” in front of “essay film,” since the essay film as a form is 
already experimental (to greater or lesser degrees, and depending on what one 
means by experimental).

For a reading and list of makers, I’d take a look at the recent collection of 
essays by Nora Alter and Tim Corrigan, Essays on the Essay Film.  I just 
finished teaching a class on the essay film and this book was an invaluable 
resource for us:

https://cup.columbia.edu/book/essays-on-the-essay-film/9780231172677

Best,
Roger

From: FrameWorks  on behalf of Péter 
Lichter 
Reply-To: "lichte...@gmail.com" , Experimental Film 
Discussion List 
Date: Saturday, May 18, 2019 at 1:19 AM
To: "frameworks@jonasmekasfilms.com" 
Subject: [Frameworks] experimental essay films and one other question


Dear All,

We have 2 quick questions for a longer essay on experimental cinema:

1. Bori's question: Can you recommend films or artists in the field of 
experimental essay film, after 2000 until today?

2. Péter's question: can you recommend books or articles on the institutional 
system of the contemporary experimental cinema? I know the books of Scott 
Macdonald and Malte Hagener on the institutions of classical/post-war 
avant-garde film, but I do not know anything about the contemporary situation.

Thanks!
Bori and Péter
--
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Re: [Frameworks] artist run labs and film preservation

[Beebe, Roger W.]

Ed Halter and Andrea Grover put together a collection called A Microcinema 
Primer a while ago that was published in a very limited run.  Not sure if there 
are plans for that to get an electronic afterlife, but it’s got lots of 
interesting stuff in it.

There’s a fair amount of focus on microcinemas in Incite journal issue #4:  
http://www.incite-online.net/issuefour.html

Looking for info on Ed & Andrea’s book, I found this relatively recent article 
that could be interesting if you can sneak behind the pay wall:

https://www.jstor.org/stable/10.2979/filmhistory.27.3.104

Best,
Roger

From: FrameWorks  on behalf of Ignacio 
Tamarit 
Reply-To: Experimental Film Discussion List 
Date: Tuesday, May 14, 2019 at 8:50 AM
To: Experimental Film Discussion List 
Subject: [Frameworks] artist run labs and film preservation

Hi everyone!

Im looking into texts and bibliography about microcinemas, artist run labs and 
their relationships with film preservation and restoration.

Any leads?

Best,

--
Ignacio Tamarit
Lumiton Museo Usina Audiovisual
Cabral 2354, Munro, Vicente López.
Tel.: 4721-9255.
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Re: [Frameworks] 16mm black film for scratching

[Beebe, Roger W.]

Print stocks are way cheaper than camera stocks, so just buy some 3378 (for 
ex.) and drop that in some developer (like a cheap Dektol kit that you can get 
at your local photo store) and then you’re in business for not a lot of $$$

> On Feb 14, 2019, at 11:04 PM, Huckleberry Lain  
> wrote:
> 
> Hey all,
> Tryin to see if there's any place to purchase 16mm black film for direct 
> manipulation techniques any more.
> 
> Or am I down to purchasing a roll of tri-x and sending it to the lab 
> unexposed?
> 
> Thanks in advance.
> Huck
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Re: [Frameworks] Films about the clock

[Beebe, Roger W.]

It’d be great if everyone read the original post and what others post in the 
thread, wouldn’t it?  If one more person suggests Bleu Shut...!

But to try to inject a little substance here, I think it’s telling that most of 
the examples that we’ve collectively come up with are from an earlier era (many 
in the heyday of Structural Film).  Marclay’s magnum opus notwithstanding, it 
does seem like experimental film now isn’t especially invested in that kind of 
rigid formal investigation of time () in the way it once was…

Quickly,
Roger

On Oct 29, 2018, at 5:21 PM, Caroline Gil 
mailto:gilcarolin...@gmail.com>> wrote:

Hola Albert,

You should also consider Christian Marclay's The Clock, now up at the Tate 
Modern.

https://youtu.be/irtVNTFr4f4

https://www.tate.org.uk/art/lists/five-ways-christian-marclays-clock-does-more-just-tell-time

On Mon, Oct 29, 2018 at 4:52 PM Andy Ditzler 
mailto:a...@andyditzler.com>> wrote:
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 
mailto:albertal...@gmail.com>> 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 
mailto:swarth...@mail.com>> 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" mailto:albertal...@gmail.com>>
To: "Experimental Film Discussion List" 
mailto:frameworks@jonasmekasfilms.com>>
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://albertalcoz.com/
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http://albertalcoz.com/
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--
Caroline Gil
787.530.5823
www.caroline-gil.com
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Re: [Frameworks] Films about the clock

[Beebe, Roger W.]

There’s a sequence in Jon Jost’s Speaking Directly where we are just forced to 
watch a stopwatch for several minutes that you should check out.  My memory is 
that it’s fairly late in the film (all of which is worth watching).

Best,
Roger

On Oct 27, 2018, at 8:07 AM, Albert Alcoz 
mailto:albertal...@gmail.com>> wrote:

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

--
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http://albertalcoz.com/
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Re: [Frameworks] Conner/Marker and women of color suggestions

[Beebe, Roger W.]

I just saw An Ecstatic Experience by Ja’Tovia Gary for the second time last 
weekend at the Columbus Black International Film Festival & think it’s really 
doing interesting work with found footage:

http://www.jatovia.com/an-ecstatic-experience-new/

Not a black woman, but equally worthy of attention is Christopher Harris’s 
“Reckless Eyeballing”:

https://www.viennale.at/en/films/reckless-eyeballing  [Chris, where’s your 
website???  Couldn’t find it with a quick google search…]

As for composition & sequence, again not a black woman (just a woman), but I 
showed Katherin McInnis’s “Hat Trick” in my intro film production class to set 
up a flip book assignment this week, and I think the way she uses contact 
sheets of found images could be really interesting for both conversations:

https://vimeo.com/98387497

And Jen Proctor’s remake of Bruce Conner’s “A Movie” is already becoming a 
classic of the genre (for the YouTube era):

https://vimeo.com/11531028

Lots of non-white-dude options out there…
Roger

On Aug 30, 2018, at 11:30 AM, David Sherman 
mailto:davidgatessher...@gmail.com>> wrote:

In a university production course have shown both Conner's  "A Movie" as a 
prompt for student found footage editing assignment and Marker's "La Jete" for 
photographic composition and sequencing.  I would be grateful for suggestions 
of short works by specifically women of  color that could be used as I 
mentioned above.
Many thanks,
David

--
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 520-366-1573
www.explodedviewgallery.org
www.davidshermanfilms.com
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Re: [Frameworks] film/art for the deaf (Dan Anderson)

[Beebe, Roger W.]

Not all of her films will fit this bill, but you should definitely try to track 
down Stephanie Gray (who may or may not be on this list?).  Here’s the best I 
could find from a quick googling:

https://www.poetryfoundation.org/harriet/2015/06/artforum-on-the-films-of-stephanie-gray

FYI,
R.

On Aug 24, 2018, at 12:58 PM, M Stoltz 
mailto:stoltz.m...@gmail.com>> wrote:

Hi Dan!

I would look at Alison O'Daniel's ongoing project THE TUBA THIEVES, 
particularly the restaging of the last punk show at the San Francisco Deaf Club 
(with Joel Schliemowitz as Bruce Connor!). Much of her prolific output relates 
to sound, sign language and hearing abilities
https://alisonodaniel.com/Video-Excerpts

and Caroline Key's SPEECH MEMORY
https://problempictures.net/artwork/3457456-Speech-Memory.html

I am sure there are many more works of interest, but these two come to mind 
immediately as I sip my coffee.

Mike

On Fri, Aug 24, 2018 at 9:43 AM 
mailto:frameworks-requ...@jonasmekasfilms.com>>
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Today's Topics:

   1. A place to stay at Wavelengths, Toronto (Adam Hyman)
   2. film/art for the deaf (Dan Anderson)
   3. Noriaki Tsuchimoto prints? (Stoffel Debuysere)


--

Message: 1
Date: Thu, 23 Aug 2018 09:55:49 -0700
From: Adam Hyman mailto:a...@lafilmforum.org>>
To: "Experimental Film Discussion List

mailto:frameworks@jonasmekasfilms.com>>" 
mailto:frameworks@jonasmekasfilms.com>>
Subject: [Frameworks] A place to stay at Wavelengths, Toronto
Message-ID: 
mailto:d7a434c7.878d9%25a...@lafilmforum.org>>
Content-Type: text/plain; charset="us-ascii"

Hi all,

Hoping to get to Wavelengths, but waited too long to check with the hostels,
and the hotels are too expensive for Filmforum to cover.  Anyone interested
in sharing a place or have any ideas, Sept 6-10?
Feel free to write me directly and not to the whole list,
a...@lafilmforum.org
Thank you.

Best regards,

Adam

--
Adam Hyman
Los Angeles Filmforum
6522 Hollywood Blvd.
Los Angeles CA 90028 USA
http://www.lafilmforum.org
a...@lafilmforum.org
+1-323-377-7238 (Filmforum)
+1-323-807-4202 (personal cell)


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Message: 2
Date: Thu, 23 Aug 2018 18:11:59 -0500
From: Dan Anderson mailto:bcfilmf...@gmail.com>>
To: Experimental Film Discussion List 
mailto:frameworks@jonasmekasfilms.com>>
Subject: [Frameworks] film/art for the deaf
Message-ID:

mailto:capjeoohln0fnp7hacxsnupcefsow3ff3600n0d2omipdsb1...@mail.gmail.com>>
Content-Type: text/plain; charset="utf-8"

Hey Film Folks,

I'm teaching a classic "Art Appreciation" course at a community college
next semester, the first time I've taught college level or anything other
than film/video production.

I was given notice that one of my students is completely deaf and will
require any videos shown to a captioned. My first thought is that it will
be exciting to show some Stan Brakhage, but I'm wondering if any other
teachers have had experience with deaf students or could recommend
materials that would appeal equally to hearing and non-hearing folks.

This is a required class for non-art students, but may ride heavily in the
film and new media direction.. just because I won't be able to help myself
;)

thanks!
dan anderson
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Message: 3
Date: Fri, 24 Aug 2018 12:26:39 +0200
From: Stoffel Debuysere 
mailto:stoffel.debuys...@gmail.com>>
To: Experimental Film Discussion List 
mailto:frameworks@jonasmekasfilms.com>>
Subject: [Frameworks] Noriaki Tsuchimoto prints?
Message-ID: 
<9408052e-7d48-4acd-b1f1-891482609...@gmail.com>
Content-Type: text/plain; charset="us-ascii"

To all film buffs and film archive enthusiasts: we are looking for 16mm/ 35mm 
copies of the films of Noriaki Tsuchimoto, preferably English subtitled. We 
know the 

Re: [Frameworks] Cyanotype on film

[Beebe, Roger W.]

Here’s an answer from Ben Wigley to the Labos list in response to a very 
similar question.  (I’m only bouncing this—haven’t tried it myself.)


_


In this book about Anthotypes - 
https://www.amazon.co.uk/Anthotypes-Explore-darkroom-garden-photographs/dp/1466261005
they apply the emulsion with a brush or a sponge as it applies a much thicker 
emulsion - to greater effect, than dipping….
perhaps you could try taping to a surface and applying with sponge/brush and 
then you wouldn’t get it on the back of the film? You could also wait for a 
coat to dry and apply more?

I’m guessing you would need a very long exposure for this technique

This is what a friend of mine emailed me when I asked him - not sure if it 
helps:

'

"A gel is required for a carrier if the film is bare plastic: Gelatine, Agar
Subcoat with chrome alum hardened gelatine or agar, overcoat with cyanotype in 
gelatine. There may be an issue with the heat of molten gelatine (agar is worse 
as it requires a higher temperature) curing off the cyanotype reagent (turning 
it blue). Cool gelatine to as close to the gelling point as possible before 
adding cyanotype sensitiser. May need to use a restrainer - few drops of 10% 
sodium chlorate per 20ml cyanotype reagent - this will also increase contrast, 
and lower sensitivity.

OR you can overcoat the fixed film with gel / cyanotype emulsion

If you use fixed out print film - When fixing film do not use a hardening 
fixer, plain hypo is fine.

Under red light soak the fixed, washed in deionised water and dried film in a 
strong solution of cyanotype ? double strength? with a trace of wetting agent, 
like Photo flo,

Remember the volume of cyanotype solution soaking into the gelatine film layer 
is minute and will appear to run off the film

then drain and dry, remove adhering spots of water on the film surface with a 
tissue. When dry load film into camera under subdued or red light. Remember 
cyanotype sensitivity is very low much less than 1ASA, so single shot time 
exposures will be required for each frame - determine exposure by trial and 
error.

There is still some fine detail I’m not describing, but I’ve never done this on 
film before.”

On Jul 26, 2018, at 2:45 PM, Devon D 
mailto:devonimat...@hotmail.com>> wrote:

Howdy Frameworkers,

Trying to do some cyanotype on film, 16mm & 35mm, having trouble getting the 
solution to stick and coat evenly on the film. Anybody have tips?

Thanks bunches,
Devon Damonte
Olympia, WA
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Re: [Frameworks] projection material

[Beebe, Roger W.]

Andy,

I’ve experimented a lot with different materials (often against my will!).  
There’s much that would work (depending on what you’re willing to live wth), 
but there’s no substitute for actual screen material.  Do you need one 
continuous surface or can there be “seams” between?  How tall of a surface do 
you need?  Something as simple as an army of pedestal screens could give you 30 
feet wide (as it did once for me at a screening at Oberlin College), but then 
each image lived inside its own tidy rectangle or images that sprawled did 
reveal the seam.  A few Fast-Fold screens side by side can do the trick too 
with fewer seams.  If you haven’t already selected the space, a 30’ white wall 
might be easier to find (and seamless) even if the different paint finishes 
(glossy, satin, eggshell, etc.) will reflect the image differently.  Lots of 
solutions, none of them perfect, some more expensive than others, etc…

Good luck!
Roger

On Jun 26, 2018, at 1:50 PM, Andy Ditzler 
mailto:a...@andyditzler.com>> wrote:

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

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[Frameworks] Fwd: [Labos] Newly Available: Eastman 7363 Single Perf Super 16

[Beebe, Roger W.]

All,

I realized that I only saw this on the film labs mailing list & thought some 
(many?) of you might be interested.  Get it while it lasts…

FYI,
Roger

Begin forwarded message:

From: Elena Rossi-Snook 
>
Subject: [Labos] Newly Available: Eastman 7363 Single Perf Super 16
Date: May 23, 2018 at 10:47:06 AM EDT
To: "fo...@filmlabs.org" 
>
Reply-To: forum labo >

Hello!

This just in from Kodak Technical Director Bev Pasterczyk: KODAK is pleased to 
announce the limited release of EASTMAN High-Contrast Positive Film II 7363 in 
single perf Super 16 format. Product will be sold until inventory is depleted. 
You can use this for black leader if the film is exposed and processed as Dmax.

If you don't know your regional Kodak rep, you can always contact Bev directly 
[in L.A.]

Elena Rossi-Snook | Chair
AMIA Film Advocacy Task Force



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[Frameworks] Fwd: Roger Beebe: "Films for One to Eight Projectors", Saturday April 7th

[Beebe, Roger W.]

NYC (and Greater NY and TN/KY) Frameworkers,

I’m starting the final stretch of my touring multi-projector show on Saturday 
with the screening at Microscope Gallery about which there’s much more info 
below.  For those who don’t find themselves in Gotham, here are the remaining 
tour stops as I head home (in a slightly roundabout way):

April 7:  Brooklyn:  Microscope Gallery, 8 pm
April 10:  Murray State: Clara M. Eagle Gallery), 5 pm 
April 12:  Vanderbilt University, 1:10 pm
April 17:  Binghamton University: Lecture Hall 6, 7:30 pm
April 18:  Syracuse (class visit only)
April 19:  Rochester: Visual Studies Workshop, 7 pm

Hope to see some of you out on the final leg of this long, long trip…

Best,
Roger

> Begin forwarded message:
> 
> From: Microscope Gallery 
> Subject: Roger Beebe: "Films for One to Eight Projectors", Saturday April 7th
> Date: April 2, 2018 at 5:00:03 PM EDT
> To: 
> Reply-To: Microscope Gallery 
> 
> Is this email not displaying correctly?
> View it in your browser.
> 
> 
> From "SOUNDFILM" (2015) by Roger Beebe - Image courtesy of the artist
>  
> Saturday April 7, 8pm
> Roger Beebe 
> Films for One to Eight Projectors
> artist in person
> We are pleased to welcome back to the gallery Columbus-based filmmaker Roger 
> Beebe for an evening of films, videos, and multi-projector performances, 
> including several New York premieres shown alongside some of his best-known 
> works. The event is the New York leg of Beebe’s 3,000-mile East Coast tour. 
> The program has been adapted to include only works never before presented at 
> the gallery.
> 
> In his works, Beebe often reflects upon forms of technology that are 
> disappearing, or potentially being replaced – text fonts, books, moving image 
> mediums, real estate –  and critically considers their infrastructures and 
> “replacements”, such as Amazon.com’s fulfillment centers in his 2018 
> “Amazonia” (NY Premiere) or the new high rises of Las Vegas, now the US city 
> with the largest rate of suicide, in “Money Changes Everything” (2010). 
> 
> Beebe’s 2015 performance work for six 16mm projectors “SOUNDFILM” presents a 
> usually unseen history of sound and its recording, focusing on its visual 
> translation on the film strip and measuring instruments, as sound to be seen 
> on screen. His seven projector “Last Light of a Dying Star” (2008-2011), 
> originally conceived for a planetarium, through meticulously juxtaposed 
> original and found footage reveals how light, space, celluloid film, early 
> space explorations, expanded cinema, and ephemerality are intertwined. 
> 
> Beebe will be available for Q following the screening and performance.
> 
> 
> 
> General admission $8
> Members & Students $6
> 
> ADVANCE TICKETS
> 
> _
> Roger Beebe’s work since 2006 consists primarily of multiple projector 
> performances that explore the world of found images and the “found” 
> landscapes of late capitalism. He has screened his films around the globe at 
> such unlikely venues as the CBS Jumbotron in Times Square and McMurdo Station 
> in Antarctica as well as more likely ones including Sundance and the Museum 
> of Modern Art with solo shows at Anthology Film Archives, The Laboratorio 
> Arte Alameda in Mexico City, and Los Angeles Filmforum among many other 
> venues. Beebe is also a film programmer: he ran Flicker, a festival of 
> small-gauge film in Chapel Hill, NC, from 1997-2000 and was the founder and 
> Artistic Director of FLEX, the Florida Experimental Film/Video Festival from 
> 2004-2014. He is currently a Professor in the Department of Art at the Ohio 
> State University.
> 
> 
> More info and full program HERE
> 
> 
> 
>  
> 
> 
> Microscope Gallery Event Series 2018 is sponsored, in part, by the Greater 
> New York Arts Development Fund of the New York City Department of Cultural 
> Affairs, administered by Brooklyn Arts Council (BAC).
> 
> 
> 
> 
> 
> Current Exhibition
> 
> 
> Bradley Eros, "All that is solid melts into eros", 2018, installation view
> Image courtesy of the artist and Microscope Gallery
>  
> Bradley Eros
> All that is solid melts into eros
> March 16 - April 22, 2018
> All that is solid melts into eros is the second solo exhibition at the 
> gallery by Bradley Eros. In this exhibition devoted to ephemerality – a 
> concept the artist has been radically engaging with, especially in film, 
> video, collage, and performance, since the 1980s when he arrived in New York 
> – Eros presents a new body of work “made of ice, ash, paper, foil, and 
> plastic that will be altered, or disappear and be remade daily”. 
> 
> A détournement of a known Karl Marx quote, All that is solid melts into eros 
> finds the artist asking for the visitors’ complicity in the physical 
> transformation of the works themselves – which are to be burned, melted, 
> crumpled, or flown – including in some cases their eventual disintegration. 
> With Arte 

[Frameworks] Boston multi-projector show time

[Beebe, Roger W.]

Boston-area Frameworkers,

Just a late heads up that my show tomorrow (Monday, 3/19) at the Carpenter 
Center for the Visual Arts has been pushed back an hour to 9 PM due to concerns 
about sound bleed in the adjacent theater.  The program is a taut 70 minutes, 
so hopefully it won’t go past your bedtimes…

Hope to see some of you there (or elsewhere on this next leg of shows).

…
Roger

[cid:BC46A5B9-B775-4267-84B4-DF5261D91F4F@nyc.rr.com]
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[Frameworks] New England/Montréal multi-projector shows

[Beebe, Roger W.]

All,

Apologies (again) about the self-promotion, but I have a string of 
multi-projector shows in New England (& Canada) starting this Sunday, and I 
figured a quick heads up couldn’t hurt.  If you find yourself in the orbit of 
these shows with a few free hours on your hands, I hope you’ll come out.

Best,
Roger

March 18: Providence: Grant Recital Hall (105 Benevolent St), 8 pm
March 19: Boston: Carpenter Center for the Visual Arts, Room B04, 8 pm
March 21: Colby College: Arey 5, 7 pm
March 22: Portland: The Apohadion Theater, 8 pm
March 23: Northampton: Studio4, 7 pm
March 25: Montreal: la lumiere collective, 8 pm

[cid:0A89AA34-0CFC-4F14-A2B8-BFD7480EA952@nyc.rr.com]
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Re: [Frameworks] break the machine ~~

[Beebe, Roger W.]

Andreas,

I see you’re emailing from an academic address.  The Ohio State library has it 
available as an electronic resource.  Maybe your library has the same or has a 
relationship with a library system that does?

It’s been a great resource for my students.  I actually just got our library to 
buy a hard copy, because it seemed crazy to only have electronic access to 
something that’s so much about materiality…

Best,
Roger

> On Dec 5, 2017, at 3:18 PM, Andreas Wilson  wrote:
> 
> does anybody have a pdf of Kathryn Ramey's Break the Machine? I desperately 
> need it for a project (just one chapter, actually..)   
> 
> let me know ..
> 
>-draye
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[Frameworks] Kodak reps? (and Ektachrome)

[Beebe, Roger W.]

Does anyone have any info about changes to the Kodak reps for North America 
recently?  I emailed both my new rep for Ohio and my old rep from Florida, and 
both emails bounced back.  Not sure if my email is just being buggy or if there 
have been layoffs or departures.

FYI, I was trying to contact them because I’ve recently learned that the new 
Ektachrome, when it’s reintroduced next year, will initially be offered only in 
super 8mm and 35mm still.  For those of us who teach, 16mm Ekta is an essential 
stock, so I was hoping to encourage them to reintroduce 16mm in short order.  
Might be worth a concerted effort by Frameworkers if others share my concern.

Best,
Roger





Roger Beebe
Professor
Department of Art
The Ohio State University

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Re: [Frameworks] A desktop video

[Beebe, Roger W.]

I’m a big fan of this goofy little “dance film” that James Budd Dees made using 
only a cursor and some clicking & dragging:

https://vimeo.com/50107963

Pretty sure this isn’t on most people’s radar, but it should be.  (Does this 
count as a doc, per the initial call?)
Roger

On Oct 29, 2017, at 9:14 AM, John Muse 
> wrote:

Thanks, Albert!  Was the someone on this list?  I don’t recall seeing it, but 
I’ll look!

On Oct 29, 2017, at 9:06 AM, Albert Alcoz 
> wrote:

Someone was looking for desktops videos by artists​ but i can not find the 
previous emails.​

Here is ​a good ​one ​named ​OS Love ​(2016) ​by Luc Gut​:​
https://vimeo.com/ondemand/osloveen


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j/PrM

*

john muse
visual media scholar
haverford college
he/him/his
http://www.finleymuse.com
http://www.haverford.edu/faculty/jmuse
http://haverford.academia.edu/JohnMuse

*



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[Frameworks] video production job at the University of Florida

[Beebe, Roger W.]

All,

My longtime employer, the University of Florida, is looking to hire a maker 
with a PhD for the program (Film & Media Studies in the English Dept.) that I 
taught in for 13 years.  It’s a great place to be—lots of interesting students, 
very supportive colleagues, NO WINTER, etc.  Not sure how many of you out there 
have PhD’s, but for those who do, this is a great gig.  I’m pasting the full 
text of the listing below.  I don’t know more than is in that posting, so 
contact Barbara Mennel at the address below for more info.  I’d definitely love 
to see this position filled by someone interesting.  The department has a long 
history of supporting experimental work in both production and theory/history, 
so I’m hoping this new hire will continue that tradition.

FYI,
Roger

_

http://explore.jobs.ufl.edu/cw/en-us/job/505103/assistant-professor-in-digital-filmmaking-and-video-production


Job Description: Assistant Professor in Digital Filmmaking and Video Production 
(Tenure Track)
Location: University of Florida, Department of English, Gainesville, Florida
Start Date: August 16, 2018
Contact: Barbara Mennel, men...@ufl.edu
Application Deadline: November 20, 2017 
Areas Required: Digital Filmmaking and Video Production; ability to teach one 
or more of the following: narrative, documentary, and/or experimental filmmaking
Other Desirable Areas: Although not required, we are particularly interested in 
candidates who are also able to teach film history, film theory, film analysis 
as audio-visual essay, critical theory of race in cinema, comparative 
international cinemas, scriptwriting, and avant-garde cinemas
The University of Florida invites applications for a tenure-track appointment 
in Digital Filmmaking and Video Production in the Department of English at the 
rank of assistant professor, effective August 16, 2018. The successful 
candidate will be expected to 1) maintain an active research agenda, 2) 
maintain an active artistic profile in film and/or video production, including 
participation at film festivals, 3) teach four courses per academic year at the 
undergraduate and graduate level, 4) provide service to the department, the 
university, and the profession, and 5) apply for extramural research funding.
Applicants will have a Ph.D. in a field relevant to the responsibilities of the 
position. Candidates must hold the Ph.D. by the starting date and must have an 
appropriate record of publication or record of equivalent artistic achievement. 
Ph.D. candidates selected for an interview who do not have the degree in hand 
will be asked to submit a current draft of the dissertation. In this position, 
an accomplished artistic portfolio may be equivalent to scholarly publications 
for the purposes of tenure and promotion.
The Department is committed to creating an environment that affirms diversity 
across a variety of dimensions, including ethnicity/race, gender identity and 
expression. We particularly welcome applicants who can contribute to such an 
environment through their scholarship, teaching, mentoring, and professional 
service. The university and greater Gainesville communities enjoy a diversity 
of cultural events, restaurants, year-round outdoor recreational activity, and 
social opportunities.
The University of Florida is an Equal Opportunity Employer dedicated to 
building a broadly diverse and inclusive faculty and staff. The University of 
Florida invites all qualified applicants, including minorities, women, 
veterans, and individuals with disabilities to apply. The University of Florida 
is a public institution and subject to all requirements under Florida Sunshine 
and Public Record laws.
Advertised Salary:
Salary is competitive, commensurate with qualifications and experience and 
includes a full benefits package.
Minimum Requirements:
Ph.D. in a field relevant to the responsibilities of the position by the start 
date of August 16, 2018, and appropriate record of publication or equivalent 
artistic achievement. 
Preferred Qualifications:
Other Desirable Areas: Although not required, we are particularly interested in 
candidates who are also able to teach film history, film theory, film analysis 
as audio-visual essay, critical theory of race in cinema, comparative 
international cinemas, scriptwriting, and avant-garde cinemas
Special Instructions to Applicants:
For full consideration, applications must be submitted online at 
http://explore.jobs.ufl.edu/cw/en-us/listing/ and must include: (1) a cover 
letter, (2) a research statement of approximately two pages, single-spaced, 
that includes details about the applicant’s artistic vision, (3) a CV, (4) an 
article-length writing sample, (5) a teaching statement (6) if available, 
representative teaching evaluations, and, (7) samples of creative film work, 
preferably available through streaming media or DVD. (8) In addition, the names 
and email address for three references must be provided on the application. An 
email 

Re: [Frameworks] Looking for Mani Kaul copies

[Beebe, Roger W.]

I’d bet Shambhavi Kaul might know something:  
shambhavik...@me.com

On Sep 22, 2017, at 8:11 AM, Stoffel Debuysere 
> wrote:

Dear Friends,

We are currently trying to track down available 35mm copies of the films of 
Mani Kaul in collections outside of India, notably of documentary works such as 
Dhrupad, Mati Manas, Siddheshwari, Arrival, Desert of a Thousand Lines.

We know Arsenal has some copies (English subtitled copies of Mati Manas and 
Dhrupad, quality 2) but if anyone has other leads, we would be very grateful. 
Without help, an important part of Mani Kaul's wonderful work is in danger of 
remaining unseen.

Best regards,

Stoffel Debuysere
www.courtisane.be





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Re: [Frameworks] optic printer in NYC

[Beebe, Roger W.]

Pretty sure Mono No Aware has Bill Brand’s old printer.  Easy enough to ask 
them:  Mono NO Aware 
>

Quickly,
Roger

On Aug 19, 2017, at 2:00 PM, ev petrol 
> wrote:

Hey folks
does anyone know of a working optic printer in NYC? seems like the Millenium 
one is out of service for the mo (?)
cheers Moira

moiratierney.net 
vimeo.com/moiratierney



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Re: [Frameworks] ¿16mm projector direct into video projector?

[Beebe, Roger W.]

Use an old Elmo film-chain transfer unit.  It’ll look terrible (unless it’s 
modified to make an HD transfer—and even then…).  The one I had had RCAs out, 
maybe a BNC.  Seems like a weird thing to do—the film exists more as fetish 
than as material—but maybe there are ways to make that interesting…

…
Roger


On Aug 19, 2017, at 4:42 PM, k. a.r. 
> wrote:

What kind of 16mm projector outputs a signal via cable,
digital or analog,
that you could then plug into a video projector as a source?

Project the 16mm film through a video projector,
but without converting the film to a digital file first

how can I do this?































'A first class technician should work best under pressure.'
- - - Issac Asimov
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Re: [Frameworks] Frederick Wiseman films. How can I see them?

[Beebe, Roger W.]

They’re all easy to get these days (after decades of being offered for sale 
only at educational prices):

http://www.zipporah.com

FYI,
R.

On Jun 22, 2017, at 8:01 AM, k. a.r. 
> wrote:

Hello. I would buy a dvd if I could find one, or rent the movies.
I'm interested in Hospital and High School.
Any ideas?
Thanks in advance.

Kristie
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Re: [Frameworks] major exhibitions of moving image art

[Beebe, Roger W.]

Ben,

One more that I thought of belatedly and that I didn’t see listed in the other 
posts:  the MindFrames show (focused on Buffalo in the 1970s) at ZKM back in 
2006-7:

http://on1.zkm.de/zkm/stories/storyReader$5419

A lot of the work was shown digitally, but they had some pretty impressive 
multi-projector 16mm installations of the Sharits work.  (Thought of this 
because I just caught the 2014 Sharits doc in a theater here two nights ago.)

FYI,
Roger

On May 23, 2017, at 2:47 AM, Ben Ogrodnik 
> wrote:

Dear Ron Green, Adam Hyman, Chrissie Iles, Roger W. Beebe, Albert Alcoz, Cindy 
Keefer, and Janis Crystal Lipzin:

Thank you all so much.  Your detailed suggestions have been extremely helpful-- 
if only I could have seen and experienced many of these events!

I especially appreciated lists of events/exhibitions outside the US and Europe, 
tracing the rise of moving-image practices around the world.  I only wish there 
was more scholarship on the history of exhibiting experimental media--but 
perhaps that's another listserv request/topic for another time!

Hope you all have a terrific week.
Sincerely,
Ben


--
Ben Ogrodnik
PhD student
K. Leroy Irvis Fellow
Department of Film Studies // History of Art and Architecture
University of Pittsburgh
b...@pitt.edu
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Re: [Frameworks] major US and international exhibitions of experimental film, video, moving image art?

[Beebe, Roger W.]

To Chrissie’s impressive list I’d add Pompidou’s Le Mouvement des Images 
(2006-7) that found parallels in works from the Seventh Art with strategies and 
concerns in the other (modern/contemporary) arts.  It included a fair number of 
(proper) experimental filmmakers (e.g., Brakhage, Rose Lowder) alongside 
gallery folks like Rodney Graham.  An outline of the show (without a ton of 
details about individual works) can be found here:  
https://www.centrepompidou.fr/cpv/resource/cn6eXo/r8K9ao

I believe Pip was involved in some way in the installation of that show, so he 
might be a better source of information about it than I am.

FYI (from Paris, on my way to Pompidou in a few hours),
Roger





On May 18, 2017, at 10:40 PM, Chrissie Iles, Curatorial 
> wrote:

Hi Ben, off the top of my head, here are some other shows that come to mind: my 
own ‘Signs of the Times: Film, Video and Slide Tape in British Art in the 
1980s’ (1990), and ‘Scream and Scream Again: Film in Art’ (1996), both group 
survey shows of the moving image that I curated at the Museum of Modern Art 
Oxford, U.K. A few others include: ‘Celluloid’ and ‘Found Footage: Cinema 
Exposed’ (2012), both at the Eye Film Museum, Amsterdam (2016), ‘Hall of 
Mirrors: Art and Film since 1945’ (1996), and ‘Visual Music’ (2005) both 
curated by Kerry Brougher at LA MOCA, ‘The Cinema Effect: Illusion, Reality, 
and the Moving Image’ at the Hirshhorn museum, Washington, also curated by 
Kerry Brougher (2008), ‘Monter/Sampler’ at the Pompidou Center, Paris (2000), 
‘X-Screen’ at Mumok in Vienna (2003), ‘Beyond Cinema: The Art of Projection’ at 
the Hamburger Bahnhof, Berlin, curated by Stan Douglas and Christopher Eamon 
(2006), ‘Seeing Time’ at SF MOMA (2000), ‘The Dissolve’ at Site Santa Fe, 
curated by Sarah Lewis and Daniel Belasco (2010), ‘Electronic Superhighway’ at 
the Whitechapel Art Gallery, London, curated by Omar Kholeif (2016). There have 
also been a number of shows curated at ZKM Karlsruhe addressing the moving 
image in different ways, and some other historical shows include Wolf 
Herzogenrath’s ‘Video Skuptur: Retrospektiv und Aktuell 1963-1989’ show at the 
Cologne Kunstverein (1989) and ‘Projected Images’ curated by Martin Friedman at 
the Walker Art Center (1974), and John Hanhardt’s group show of film 
installations at the Whitney in 1979, as well as, of course, Jonas Mekas’s 
Expanded Cinema Festival at the Cinematheque in New York (1966). There are 
numerous books of course, including catalogues for the above shows; one comes 
to mind that I think might be helpful for your research: ‘OEI: On Film’, in 
Swedish and English, mapping out film in Sweden, with extensive analyses of 
experimental filmmakers’ processes. It’s a beautiful book that might not be so 
well known but would help your research I think.
Hope this is useful.
Chrissie

From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Ben Ogrodnik
Sent: Thursday, May 18, 2017 4:04 PM
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] major US and international exhibitions of experimental 
film, video, moving image art?

Hi all,
I'm interested in gathering a list of film/video-based art exhibitions in the 
United States, UK, Europe and rest of the world.  I was wondering if anyone 
might have suggestions of any exhibitions (recent or old) that were focused on 
a broad survey of moving image art.

Obviously many exhibitions, such as documenta or the Venice Biennale, have 
exhibited some form of moving images or experimental media. But for my 
purposes, I'm interested only in shows that focus on the moving image as the 
central theme, not as a component of a larger thematic whole.

An example might be the recent show at the Whitney Museum, Dreamlands: 
Immersive Cinema and Art, 1905-2016 or Into the Light: The Projected Image in 
American Art, 1964-1977, both curated by Chrissie Iles. Another example of this 
on a much smaller scale would be Renegades: American Avant-Garde Film, 
1960-1973, at the Walker Center of the Arts.
Your suggestions would be greatly appreciated !
Thanks so much.
Sincerely,
Ben

--
Ben Ogrodnik
PhD student
K. Leroy Irvis Fellow
Department of Film Studies // History of Art and Architecture
University of Pittsburgh
b...@pitt.edu
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Re: [Frameworks] optical sound film screening

[Beebe, Roger W.]

Well, I was hoping someone would save me the embarrassment of mentioning my own 
film—Dave Tetzlaff, where are you when I need you???—but since no one has, TB 
TX DANCE is an optical sound experiment made using an office laser printer:

https://vimeo.com/34376555

FYI,
R.

On Mar 2, 2017, at 8:27 AM, Peter Szely 
> wrote:

hello all,
my name is peter szely from ima, institute for media archeology.
feel free to check out our website www.ima.or.at
 I have a question:
ima always set itself a yearly topic in our work.
this years topic is optical sound.
we plan to have workshops and concerts dealing with optical sound, and we also 
plan to hav a film screening  of movies.
we are interested in movies where the sound comes from manipulations and 
treatments such as drawing or scratching directly on the celluloid,
do you have any recommendations of fine pieces of film working like this?
thanks in advance
best szely
Peter Szely
sz...@ima.or.at
IMA / Institut für Medienarchäologie
Heinrich-Schneidmadl-Straße 15
3100 St. Pölten
Tel: 0043 6991 9561906



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[Frameworks] a timely video (from the time machine)

[Beebe, Roger W.]

All,

I just rewatched a video that Warren Cockerham made almost exactly 8 years ago, 
just before Obama’s inauguration, and it seemed to me transformed by the times 
into a really poignant document of the promise of that former moment.  And even 
while the video seems a little tragic as we brace ourselves for what’s next, 
watching it also seemed to help me in some way, so I thought I’d share here:

https://vimeo.com/32584261

In solidarity,
R.
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Re: [Frameworks] Fischinger and optical tracks

[Beebe, Roger W.]

Jeff,

Thanks for sharing—really interesting.  I couldn’t make heads or tails of what 
the text accompanying the figures is describing, but it’s still intriguing…

Best,
Roger

On Dec 25, 2016, at 3:26 PM, Jeff Kreines 
> wrote:

This is pretty wonderful. Go to page 274 to see how Oskar Fischinger draws 
optical soundtracks on film.

http://www.americanradiohistory.com/Archive-Television-News/Television-News-1933-Jan-Feb.pdf


Jeff Kreines
Kinetta
j...@kinetta.com
kinetta.com


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[Frameworks] digital-era distro

[Beebe, Roger W.]

All,

As I’ve slowly been making HD transfers of my older work, I’m wondering about 
what people are doing in the current era for circulating HD versions of their 
films.  Of course, I’m updating my Vimeo versions with the new scans, but since 
those files get massively recompressed, that’s not what I’m primarily thinking 
about.  Back in the day (way back in 2007/2009/2011!) I used to do a fairly 
healthy traffic in DVDs when I toured with my films.  In 2015 when I toured, I 
didn’t even bother taking merch along, since I have the impression that people 
no longer collect DVDs much.  (My Mac doesn’t even have a way to play DVDs, and 
I assume many folks are reliant on their computers as their primary site of 
consuming films—certainly my students are.)  With the new HD versions, a DVD 
seems even more perverse, since it would be reconverting these back down to SD. 
 i could burn Blu-Rays, but authoring BRDs is a bit of a hassle, and I know 
that many people still can’t play them and many libraries (like the library at 
Ohio State) won’t collect them.  Which brings me to files.  Are there artists 
selling work on thumb drives?  Are there libraries buying files on drives?  Are 
regular people interested in purchasing files?  I was thinking about loading up 
some thumb drives for my next touring shows just to give it a try, but I 
thought I’d reach out to you all first.  I guess download is an option too that 
I haven’t thought much about.

I’d be curious to hear from any of you who’ve dealt with these questions.  
Ultimately I’m actually not that concerned with turning these new HD transfers 
into a revenue stream—it’s more about figuring out a way to get these out in 
the world in an ideal form—but a few extra bucks never hurts.

Thoughts?
Roger
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Re: [Frameworks] 16mm sound recording

[Beebe, Roger W.]

And in a similar vein, some of the folks from L’Abominable demo’d a pretty 
nifty system this summer in Nantes that synced with a little light sensor 
hooked to the front of the lens that just used the strobing of the shutter to 
generate the sync pulse.  (They were still working out kinks though, like how 
to account for black film.)

R.

On Dec 13, 2016, at 2:06 PM, Jeff Kreines 
> wrote:


On Dec 13, 2016, at 12:49 PM, Francisco Torres 
> wrote:

which begs the question-  are there are any double sound systems possible today 
for 16 mm using standard projectors and some digital source?

Richard Tuohy and Carl Looper (in Australia) have developed a clever system 
that attaches a passive sprocket with encoder to the feed arm of  a projector 
and syncs it with a digital file playing on a laptop.  Earlier Sam (?), RIP, 
did something similar using timecode on the optical track and a DTS player, but 
that was far more expensive.  They are both on FB.

The Sharples book is a good place to start.  But a lot depends on where you are 
located and which lab you are using (for optical, that is).

Jeff Kreines
Kinetta


2016-12-12 21:31 GMT-04:00 Kenneth Linehan 
>:
Hi Morgan,

If you’re looking to obtain a final screening print ( 16mm  ) with sync sound, 
the primary format is optical sound track recording. There may be people 
experimenting with making their own home-brew magnetic tracks, but there’s 
little to no support for magnetic sound on 16mm these days.

So, if you want to get an optical track made, you definitely can.

There’s a lab in Canada that I’ve used recently to produce an optical negative 
and they did very good work.

Regarding the overall workflow questions you had, if you use film scanning 
there are workflows that largely eliminate the need to use mag or a Steenbeck 
to produce your soundtrack.  Not that I’m opposed to those things :)
This or may not apply to your workflow, but hopefully it will give you some 
perspective on your options:

Consider the possibility of having your film or negative scanned at 24fps ( 
progressive ). Although this may add some cost up front, the scan can be useful 
for many purposes not the least of which is facilitating digital sound 
workflow. Once your film is scanned at 24fps progressive, maintaining sound 
sync in the digital environment becomes much easier than with NTSC telecine 
processes. Note, if you need an NTSC end product, my approach may not totally 
suit you.

Once you have your scan, import it as a quicktime movie into an audio editing 
application like ProTools/DigitalPerformer/etc. Create a sync beep and do all 
your overdub ( voice over ) in the audio app. Make sure the audio editor 
transport counter is operating at 24fps. Beep must be placed carefully. You can 
conform subsequent edits of scanned material in your audio editor very easily 
while still editing on film at the same time. You can conform edits on the fly 
as you work between film and digital simultaneously if necessary.

You can then mix using your audio workstation and send the mixed audio file ( 
with sync beep ) to the optical sound lab and they will provide you an optical 
negative. That optical neg can then be married to the image negative in the 
final print by your lab. I used dropbox to transfer my mix to the lab in Canada.

There are lots of details and particulars you must be attentive to, but that’s 
the overview. I’m happy to talk to you about it if you want to send me an 
email. Other people may have other approaches. You need to find the right mix 
of techniques for your personal process.

Ken Linehan



On Dec 12, 2016, at 4:02 PM, Morgan Hoyle-Combs 
> wrote:

Hello to all who still film and record to 16mm film (or any celluloid format)

I have an essay/diary that I'm filming with a few old 16mm Cine Kodak cameras. 
I already have notes and images, but what needs to come next is a voice over. 
Does anyone who has worked with 16mm sound know how I would go about doing 
this? I'm more than happy to be corrected, but I have it figured like this: I 
would record the to a magnetic reel, then I would organize my footage and make 
a print out of my reels AND in coordination with the dialog. But how would I go 
about putting the sound stock ONTO the film? I know that I would have to use 
SINLGE PERF to leave room for the sound tape.

I think this is where I lose myself. Anyone have any ideas on where I should 
start?

I'm using black and white FYI.

-Morgan
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Re: [Frameworks] Laser pointer optical printing

[Beebe, Roger W.]

Morgan,

I’ve experimented with this a little, and have had very mixed results.  I 
bought some green lasers online (since red-blind stocks wouldn’t respond much 
to a red laser—or so was my thinking), and my first tests made it seem fairly 
straightforward.  However, attempts to replicate the early successes were 
unsuccessful—partially because the lasers were cheaply made and seemed to 
produce a very uneven light—and I haven’t continued to pursue it.

Not especially helpful, I know, but maybe it means the field is wide open for 
you…

Best,
Roger

On Sep 22, 2016, at 11:06 PM, Morgan Hoyle-Combs 
> wrote:

I have two rolls of 35mm fil. One is a collection of trailers and logos the 
other is an unexposed 100ft roll of tri-X. After seeing an example of 
Tscherkassky's optical printing process I desperately wanted to try some 
myself. Has anyone else tried this technique before?
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Re: [Frameworks] Ektachrome Video News Film

[Beebe, Roger W.]

Brigid,

Give Nicolas Rey a try:  Nicolas Rey .  He’s done 
some deep experimentation with expired color stock, so he might have wisdom to 
share.

Best,
Roger

On Sep 15, 2016, at 6:23 PM, Brigid McCaffrey  wrote:

> Dear frameworkers,
> 
> I just acquired about 5k feet of Ektachrome "Video News Film" that was in 
> someone's fridge for 20 years. I'm curious if anyone has experience using 
> this stock, or a similarly dated and preserved color reversal stock. I would 
> be hand processing and looking forward to the surprises, but also don't want 
> to shoot a bunch of footage that will turn out to be .
> 
> Appreciate any insights you can offer!
> 
> Brigid
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Re: [Frameworks] the PhD referral for programs friendly to experimental film

[Beebe, Roger W.]

While there may not be many Ph.D. programs specialized in experimental film, 
I’d suggest that you look for a school with a faculty member or two who you’d 
like to work with.  Almost no one in any area of specialization gets to 
assemble a committee entirely of people who work narrowly in their 
subdiscipline.  When I was teaching at Florida, we had several students who 
wrote on experimental film (with me, Maureen Turim, Robert Ray, and others), 
but they also had more general cinema and media scholars fleshing out their 
committees.  Having a broad training in film studies is a good idea if you’re 
thinking about looking for teaching after completing your Ph.D., because almost 
all faculty will have to teach a variety of subjects outside of their area of 
specialization—intro to film, world cinema, etc.

So, grab a stack of publications on experimental film, find essays you’re 
interested in, find where the authors are teaching, and apply to those places.

My 2 cents,
Roger

On Jul 31, 2016, at 1:51 PM, Fred Camper  wrote:

> Many would agree that the best Ph. D. program in film is the Uiversity of 
> Chicago's. Two of the faculty there, James Lastra and Tom Gunning, do have a 
> special interst in avant-garde film. I have known many of their students, who 
> are generally excellent, and they have a good record of placing graduates in 
> jobs. The program is, however, highly competitive, and only a few are 
> admitted. I'm sure they can give you more currenbt information.
> 
> If there is a Ph.D. program "specialized" in avant-garde film, I'd like to 
> hear of it!
> 
> Fred Camper
> Chicago
> 
> On 7/30/2016 10:11 PM, 이고운 Ko Woon Lee wrote:
>> Hello all,
>> 
>> I have been teaching in Korea and making experimental films and 
>> documentaries as well since I graduated from San Francisco Art Institute in 
>> 2010 with MFA degree in filmmaking. Now I am thinking about pursuing PhD in 
>> film studies in the U.S. again and researching about schools and PhD 
>> programs specialised in avant-garde film or at least friendly to 
>> experimental film. If you have some information and experience, please help 
>> my research.
>> 
>> Thank you in advance.
>> 
>> Kowoon Lee
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[Frameworks] TB TX DANCE 16mm prints

[Beebe, Roger W.]

All,

Many of you have seen my 2006 laser-printed film TB TX DANCE.  If not 
(somehow), it’s online here:

https://vimeo.com/34376555

I’m about to make some new prints for myself, and I had the (slightly crazy?) 
idea that maybe others out there would be interested in owning a print.  I’m 
expecting them to be fairly cheap, since it’s a b/w sound-on-film original that 
can just be contact printed as super 16mm.  I don’t know exactly what the 
prints will cost—I’m hoping it’ll be less than $50 per—and I’m planning to sell 
prints at the once-standard 3x print cost.  If you’re interested, send me an 
email to let me know, and I can keep you in the loop as I know more about exact 
costs.  These won’t be “editioned” or anything—I’ll make as many prints as 
required to satisfy demand.  There’ll be no limitation on where you can screen 
‘em—private use, public screenings, classroom instruction are all fine with me. 
 

And to be clear, for the moment I’m just making positive prints for the 
single-channel version, but if anyone’s crazy enough to want the negative 
version as well to be able to present the two-channel version screened on that 
Vimeo version, I will eventually make myself a new negative version too, so I 
could add eventually satisfy those requests too.

I figure they’ll make great stocking stuffers for the experimental filmmaker in 
your life…

Any takers?
Roger


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Re: [Frameworks] Film/video programers/curators and campus film screenings

[Beebe, Roger W.]

Many of my students who were involved centrally or peripherally with FLEXfest 
in Florida have gone on to do a wide range of post-graduation programming.  
Brendan and Jeremy Smyth, for example, currently run both the Haverhill 
Experimental Film Festival (HEFF) and Unexposed Microcinema in Durham, NC.  
Warren Cockerham programmed the New England Home Movie Tour and had a hand in 
Luther Price gallery shows at Bennington and Callicoon Fine Arts.  Jodie Mack, 
who was among the founding group at FLEX, went from there to an internship at 
the PDX Film Festival in Portland then to SAIC where she programmed the 
Animation’s World Fair and revived David Gatten’s Eye & Ear Clinic (which 
Warren Cockerham also did for a bit) and since landing at Dartmouth has 
programmed a series called Eyewash.  Charlotte Taylor, also one of the original 
FLEX crew, founded Mechanical Eye Microcinema in Asheville, NC.  Mike Stoltz, 
who had a hand in helping me set up screenings in the pre-FLEX days, now is 
part of the group programming the Echo Park Film Center.  This is a very 
incomplete list, and I’m reluctant to hit send lest I forget someone, but it at 
least gestures to the Florida/FLEX family tree in a way that shows the 
connections you’ve asked about.

FYI,
Roger

On Mar 17, 2016, at 2:20 PM, Michael Zryd > 
wrote:

Hi Frameworks: I’m doing some research on what connections (if any) exist 
between people who program or curate film, video, and other moving image media 
and their experiences in college and university.

Question: If you are currently programming or curating, did you get any 
experience at a college or university campus film society or screening series?

I know of histories in Toronto at universities like Ryerson, University of 
Toronto, and York University, and have read anecdotal accounts from schools 
like Binghamton, NY, where students from those schools programmed ambitious 
experimental screenings on campus and then continued to program/curate 
afterwards, but I’m wondering how widespread that connection is. And whether 
it’s a North American phenomenon or if it occurs elsewhere.

Please share any stories or personal histories, either privately to me, or to 
the listserv.

Thanks!
Michael Zryd • Associate Professor
Department of Cinema & Media Arts
School of the Arts, Media, Performance & Design

YORK UNIVERSITY
York Lanes 230 • 4700 Keele Street
Toronto ON • Canada M3J 1P3
T 416.736.2100 x66957 / cell: 647-430-8680 / Skype: mjpzryd
z...@yorku.ca • 
http://ampd.yorku.ca/about-us/our-faculty/michael-zryd
 • ampd.yorku.ca

York University, one of 2015 Canada’s Greenest Employers

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Re: [Frameworks] Fwd: New Kodak Super 8 movie camera

[Beebe, Roger W.]

Now if they’d just reintroduce a color reversal stock…

(Shot a little Wittnerchrome this summer, and it’s not a bad tool, but it’s not 
Kodachrome or even the final Ekta 64T…)

R.

On Jan 8, 2016, at 2:18 PM, Nicholas Kovats  wrote:

> Yup.
> 
> There is a brand new Super 8 camera introduced by Kodak and it is
> projected to be available in fall 2016, i.e.
> http://www.bloomberg.com/news/articles/2016-01-07/new-kodak-super-8-concept-camera-first-look-video
> 
> Kodak saw the Logmar Super 8 camera back in Cinegears 2015 and a
> prelimiary deal was made with the Danish father and son engineering
> team to design both the hardware and software for the forthcoming
> series of Kodak Super 8 camera systems.
> 
> The original inspiration as per Kodak's interest, i.e.
> http://www.logmar.dk/. The new Kodak Super 8 camers will share
> attributes of the original Logmar S8 camera. I have the only one in
> Canada. Kodak has now dropped any reference to the Logmar name on
> their web site. It has been speculated that there is now an
> "exclusivity agreement" in place. Kodak also contracted a famous
> designer for the overall look, color and button shapes that is Yves
> Béhar. He is the founder and principal designer of Fuseproject, i.e.
> http://www.fuseproject.com/. Gotta have the new camera's power button
> match Apple esthetic.
> 
> Speculation and rumour are rife at the moment but the following
> products and/or services have been announced as part of the new Kodak
> eco-system initiative.
> 
> 1. Dec 21/15 P-200 Film Cleaning System, i.e.
> 
> http://www.kodak.com/ek/US/en/corp/Press_center/KODAK_Introduces_Innovative_Film_Cleaning_System/default.htm
> 
> "The KODAK P-200 system consists of a compact machine that measures
> only 31w x 21d x 51h inches with touchscreen controls for navigating
> the operating modes. It uses KODAK HFE 7200 Film Cleaner Solution, an
> environmentally safe solvent with a zero ozone depleting
> classification, and a very low toxicity rating (near zero). Adding to
> the system's efficiencies, Kodak is offering the solvent in low
> quantities for the first time, eliminating the need to invest in large
> orders of film cleaning supplies."
> 
> 2. Jan. 06 - Logmar designed Super 8 Camera w/ Yves Béhar designer "accents" 
> :)
> 
> - high end will be metal construction at approx $1000 US (2000 units).
> - lower end plastic model approx $499/$700 US.
> 
> Some preliminary specifications, i.e.
> http://www.newsshooter.com/2016/01/06/kodak-goes-back-to-the-future-and-announces-a-new-super-8-film-camera/
> 
> FILM GAUGE
> SUPER 8 ( EXTENDED MAX-8 GATE )
> 
> FILM LOAD
> KODAK CARTRIDGES WITH 50 FT (15 M)
> 
> SPEED
> VARIABLE SPEEDS (9, 12, 18, 24, 25 FPS) ALL WITH CRYSTAL SYNC
> 
> LENS MOUNT
> C-MOUNT
> 
> FOCAL LENGTH
> FIXED / 6 MM, 1:1.2 – RICOH LENS (OPTIONAL ZOOM 6-48 MM LENS )
> 
> FOCUS / APERTURE
> MANUAL FOCUS & IRIS
> 
> VIEWFINDER
> 3.5? DISPLAY THAT HAS A STANDARD DEFINITION VIDEO INPUT AND SUPPORTS
> SWIVEL +/- 45 DEGREES
> 
> EXPOSURE
> EXPOSURE CONTROL
> CARTRIDGE DETECTION (SPEED NOTCH)
> BUILT-IN LIGHT METER FOR SUPPORTED SPEEDS OF ALL KODAK FILM TYPES
> MANUAL SPEED / MANUAL IRIS SETTING
> 
> POWER SUPPLY
> BATTERY & CHARGER
> INTEGRATED BATTERY AND CHARGER VIA STANDARD USB WALL ADAPTER
> 
> CONTROL PANEL / SETTINGS
> CONTROL PANEL VIA VIEWFINDER 3,5? TFT LCD
> 
> SETTINGS
> VIA JOG WHEEL AS USER INTERFACE
> 
> 3. A new Kodak processing lab in New York.
> 
> 4. One stop shop model whereby consumers can purchase film stock,
> process and a digital scan (allegedly 4K) from Kodak. Customer's will
> take delivery of said digital scan via the internet and Kodak will
> ship the original S8 negative with a S8 print. That is not a typo and
> we are are attempting to officially confirm the print delivery. Total
> package price is rumoured to be $50-$75 US. Longtime Kodak small
> format partner Pro8mm in California has been making inquiries
> regarding purchase of a 2nd hand contact printer from the Cinelicious
> post house.
> 
> 5. The Kodak CEO has been stating that there are additional
> post-production tools forthcoming.
> 
> I suspect that the hipsters will adopt this "retro" camera and drive
> up 2nd Super 8 camera prices. Should I hold onto my beautiful high end
> Super 8 machines? Quietly ride this mini-film explosion? Or just keep
> filming? :)
> 
> Film Forever.
> 
> Nicholas Kovats
> Toronto
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Re: [Frameworks] Friday, Sept. 4--NO NEW YORK show at Microscope Gallery

[Beebe, Roger W.]

I didn’t see it, but those listings have been going into my junk mail 
sometimes.  In any case, not bad to have a second announcement.

See you soon!
R.

On Sep 4, 2015, at 4:51 PM, LBurchill 
<elle.burch...@gmail.com<mailto:elle.burch...@gmail.com>> wrote:

Hey Roger,

We posted it, but did the announcement actually go out this week?


On Wed, Sep 2, 2015 at 12:59 PM, Beebe, Roger W. 
<beebe...@osu.edu<mailto:beebe...@osu.edu>> wrote:
All,

As always, I’ve missed the This Week deadline, but I wanted to let those if you 
in the New York area know that on Friday at 7:30 p.m. at Microscope Gallery 
(1329 Willoughby Ave., Brooklyn, NY) I’ll be presenting a program that I’m 
calling (perversely?) NO NEW YORK.  The show is focused on work made outside of 
the traditional centers of experimental film (NYC, SF, LA, Chicago) and draws 
on the films screened during my 10 years running FLEXfest 
(www.flexfest.org<http://www.flexfest.org/>).  Much more info on the show is on 
Microscope’s website:

http://www.microscopegallery.com/?page_id=16593

Hope to see some of you there.
Roger
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[Frameworks] Friday, Sept. 4--NO NEW YORK show at Microscope Gallery

[Beebe, Roger W.]

All,

As always, I’ve missed the This Week deadline, but I wanted to let those if you 
in the New York area know that on Friday at 7:30 p.m. at Microscope Gallery 
(1329 Willoughby Ave., Brooklyn, NY) I’ll be presenting a program that I’m 
calling (perversely?) NO NEW YORK.  The show is focused on work made outside of 
the traditional centers of experimental film (NYC, SF, LA, Chicago) and draws 
on the films screened during my 10 years running FLEXfest (www.flexfest.org).  
Much more info on the show is on Microscope’s website:

http://www.microscopegallery.com/?page_id=16593

Hope to see some of you there.
Roger
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Re: [Frameworks] Titles of scratch films

[Beebe, Roger W.]

Sharits' S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED.  And 8 billion other films.  
(This is going to end up being a LONG list.)


On Aug 25, 2015, at 3:14 PM, Scott MacDonald smacd...@hamilton.edu wrote:

 Su Friedrich's GENTLY DOWN THE STREAM and THE TIES THAT BIND.
 
 Robert Huot's SCRATCH
 
 Diana Barrie's MAGIC EXPLAINED
 
 Taka Iimura's 1 TO 60 SECONDS
 
 I'll keep thinkin'
 
 Scott
 
 On Tue, Aug 25, 2015 at 12:08 PM, Tess Takahashi tess.takaha...@gmail.com 
 wrote:
 I'm doing something on films that employ scratching directly on celluloid 
 like Brakhage's Chinese Series, David Gatten's Fragrant Portals..., Dona 
 Cameron's World Trade Alphabet, Barbel Neubauer's work, Pierre Hebert's work, 
 Storm DeHirsch's Peyote Queen, and Len Lye's Free Radicals.
 
 What am I missing? Old and New? 
 
 Bonus points it it's set to African drums...
 
 
 
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Re: [Frameworks] Titles of scratch films

[Beebe, Roger W.]

But her Hand Eye Coordination certainly counts, even if Removed doesn’t…

On Aug 25, 2015, at 5:21 PM, Warren Cockerham 
warrencocker...@gmail.commailto:warrencocker...@gmail.com wrote:

Hey Patrick (and Tess)..

I thought that Naomi Uman's REMOVED was a scratched film for many years too. 
But, she told me a few years ago that she applied (clear?) nail polish to the 
parts of the images she wanted to keep -- frame by frame - for many months. 
Then, she gave the film a bleach bath...  I guess that's why there are faint 
images of bodies left on the bleached out portions of the film and cracks and 
crevices on the other parts of the image.

hope that helps,
Warren

On Tue, Aug 25, 2015 at 4:08 PM, Patrick Friel 
patrick.fr...@att.netmailto:patrick.fr...@att.net wrote:
Animated scratching: Broken Down Film (Osamu Tezuka, 1985)

Naomi Uman’s Removed (1999)

Isidore Isou’s Venom and Eternity (1951)

But, these and the other suggestions so far, um, only scratch the surface.


Patrick F.




On 8/25/15 3:44 PM, Carl E Bogner 
crlel...@uwm.eduhttp://crlel...@uwm.edu/ wrote:





Tess, hi -



I had a colleague in the Film Department, recently transplanted to Ann Arbor, 
who wouldn’t let a frame of her film go through the gate unless she had 
scratched on it.



I overstate but Naz Dincel’s practice relentlessly involves scratching on her 
film -- or, that is to say, involves relentless scratching. Her film “Her 
Silent Seaming” -- to cite an example -- was a Jury Award winner at FLEX this 
year and also screened at Images, among other places.



(I think she has her ear to the ground so she may respond to you off-list? Naz, 
contact Tess.)



Also there is that propositional film that Frampton talked about in “A 
Lecture,” its constantly inscribed scratch transplanting what the film is about 
from “Lana Turner” to that very scratch, if I recall correctly.



What’s with Roger Beebe’s premature fatigue? Man!



Carl

Milwaukee







From: FrameWorks 
frameworks-boun...@jonasmekasfilms.comhttp://frameworks-boun...@jonasmekasfilms.com/
 on behalf of Tess Takahashi 
tess.takaha...@gmail.comhttp://tess.takaha...@gmail.com/
Sent: Tuesday, August 25, 2015 2:08 PM
To: Experimental Film Discussion List
Subject: [Frameworks] Titles of scratch films

I'm doing something on films that employ scratching directly on celluloid like 
Brakhage's Chinese Series, David Gatten's Fragrant Portals..., Dona Cameron's 
World Trade Alphabet, Barbel Neubauer's work, Pierre Hebert's work, Storm 
DeHirsch's Peyote Queen, and Len Lye's Free Radicals.

What am I missing? Old and New?

Bonus points it it's set to African drums...




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[Frameworks] NYC screening tomorrow night.

[Beebe, Roger W.]

Frameworkers,

I’ll be doing a screening tomorrow night (Friday) at 7:30 p.m. at Microscope 
Gallery in Brooklyn (1329 Willoughby Ave.), and I thought it might be of 
interest to those of you in Greater Gotham.  I should warn you that while my 
work is still predominantly in 16mm, tomorrow’s program will focus exclusively 
on my video work (of which there’s also a significant body after 20+ years of 
making moving images), so don’t come expecting to see a battery of 16mm 
projectors lining the back wall of the space.  I still hope the show will be of 
some interest to some of you—if you make it out, do come say hello.  Show 
details:

http://www.microscopegallery.com/?page_id=16417

Best,
Roger

p.s.  Apologies about the late announcement, but this has all come together in 
a hurry, so we only got the info up on the web this week.
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Re: [Frameworks] reversed River Rites

[Beebe, Roger W.]

Francisco,

Yes, that was part of the conversation I had with Ben and part of the reason I 
thought he might not want this to circulate in the world.  I don’t think my 
experience of his film (which, again, I’d already seen more than a half-dozen 
times) is diminished by what I learned in the re-reversed version though 
(although it’ll be interesting to revisit it again now).  I completely respect 
anyone who prefers not to know, but I also assume there are some people out 
there who are interested in the process like I was.

(Nicky, a response to your message coming soon.  I’ve been in transit today, so 
I’ve been slow to reply.)

For what it’s worth,
Roger

On Jul 20, 2015, at 2:39 PM, Francisco Torres 
fjtorre...@gmail.commailto:fjtorre...@gmail.com wrote:

Doesnt it take the mystery out of it? There are some things in art I would 
rather not know how they are done.

2015-07-19 15:00 GMT-04:00 Beebe, Roger W. 
beebe...@osu.edumailto:beebe...@osu.edu:
All,

I assume most of you have, at this point, seen Ben Russell’s River Rites.  I 
just watched it an additional three times over the past few weeks as part of a 
show that I presented in Warsaw, Istanbul, and Paris.  As many times as I’ve 
watched it now, I continued to be confused about how the original action was 
choreographed, before being reversed in post.  Since I had the file with me, I 
knew it’d be easy enough to throw it into Premiere and re-reverse it, restoring 
the original motion to the film.  With Ben’s blessing (after the fact), I went 
ahead and did it and have posted it to Vimeo.  I do think it’s helped me learn 
a little something about the film, and I think the end (the former start) is 
actually pretty poignant in this newly flipped version.  I also reversed the 
sound and titles as well, although Ben tells me there was some work on the 
original sound that won’t be revealed in my “righting” of the finished audio.  
I took the liberty of retitling this re-reversal too, which maybe means I think 
this is more than a footnote to the original.  In any case, I do think it only 
works in palimpsestic relation to Ben’s film, so if you haven’t yet seen River 
Rites, check that out first here:

https://vimeo.com/25532189

And the re-reversed version can be found on my Vimeo channel, for the moment 
with a password, here:

https://vimeo.com/133853342
pw:  brrb

So, yes, an odd thing.  I’d be curious to hear any reactions you have.

…
Roger
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Re: [Frameworks] The Last Reel

[Beebe, Roger W.]

Ironically shot on HD video with that super-shallow-focus DSLR look…

On Apr 15, 2015, at 1:59 PM, Ken Paul Rosenthal 
kenpaulrosent...@hotmail.commailto:kenpaulrosent...@hotmail.com wrote:

As cinemas across the United States transition to digital projectors, this 
short documentary celebrates the beauty of traditional 35-millimeter film:

http://www.nytimes.com/video/opinion/10003626202/the-last-reel.html

Enjoy!  Ken

http://www.kenpaulrosenthal.com/www.kenpaulrosenthal.comhttp://www.kenpaulrosenthal.com/
www.whisperrapture.comhttp://www.whisperrapture.com/
www.maddancementalhealthfilmtrilogy.comhttp://www.maddancementalhealthfilmtrilogy.com/
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[Frameworks] final tour dates.

[Beebe, Roger W.]

All,

As I think I’ve announced here before, I’ve been on the road since Jan. 15 
showing a program of my multiple-projector films along with my most recent HD 
video essay.  I’m entering the last leg of that tour, so I just wanted to give 
a heads up to any of you in Western Canada or the (U.S.) Midwest about these 
final shows.  Remaining dates are detailed below.  If you find yourself in one 
of these cities, I hope you’ll come out and say hello.

Best (from Vancouver),
Roger

_

April 1  //  Vancouver, BC  //  DIM Cinema at the Cinematheque (1131 Howe St.)  
//  7:30 pm

April 4  //  Edmonton, AB  //  FAVA (9722 102 St.)  //  8 pm

April 6  //  Saskatoon, SK  //  PAVED Arts (424 20th St. W)  //  8 pm

April 7  //  Regina, SK  //  Regina Public Library Theatre (2311 12th Ave.)  // 
 7 pm

April 9  // Winnipeg, MB  //  Winnipeg Film Group Cinematheque (100 Arthur St.) 
 //  7 pm

April 12  //  Northfield, MN  //  Carleton College (1 North College St.)  //  5 
pm

April 16 //  Milwaukee, WI  //  INOVA (2155 N. Prospect Ave.)  //  TBA

April 20  //  Chicago, IL  //  Constellation (3111 N. Western Ave.)  //  7 pm

April 21  //  Bloomington, IN  //  The Bishop  //  9 pm
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Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?

[Beebe, Roger W.]

In a talk I heard P. Adams Sitney give in Berlin a few years ago, it sounded 
like he was doing some revisionist history to credit Marie Menken’s “Arabesque 
for Kenneth Anger” with being the film that broke from the psychodrama 
tradition.  If that’s the case—and why not?—then that seems a MAJOR mile marker 
of a-g film history.

(Still not going to pretend it makes any sense to name just 3 films.)
Roger

On Mar 28, 2015, at 10:22 AM, 
o...@thenowcorporation.commailto:o...@thenowcorporation.com wrote:

I AM a feminist, and
here are three essential films, that answer the question
'What are the 3 Essential Films that you would show Artists on their first 
foray into the Moving Image Realm ?'
Maya Deren
Meshes of the Afternoon
Mary Ellen Bute
Polka Graph
Shirley Clarke
Bridges Go-Round

Owen's iphone


On Mar 28, 2015, at 9:01 AM, Cari Machet 
carimac...@gmail.commailto:carimac...@gmail.com wrote:

no no only white men make important work

why is a very old work of a woman the only woman filmmaker being hailed here

peggy ahwesh anyone? https://vimeo.com/user2889626

and there are tons of euro ones fuck do we need a comprehensive list of woman 
filmmakers posted somewhere on the net to point to when this shit happens? 
wikipedia?

i am no feminist but this seems really bad


On Sat, Mar 28, 2015 at 1:10 PM, Kim Knowles 
kim.know...@edfilmfest.org.ukmailto:kim.know...@edfilmfest.org.uk wrote:

The problem with this list, as is often the case, is that women filmmakers are 
written out of the 'canon'. Please include Maya Deren! (as per Vicky Smith's 
post)


From: FrameWorks 
frameworks-boun...@jonasmekasfilms.commailto:frameworks-boun...@jonasmekasfilms.com
 on behalf of Gene Youngblood ato...@comcast.netmailto:ato...@comcast.net
Sent: Friday, March 27, 2015 6:56 PM
To: Frameworks Listserv
Subject: Re: [Frameworks] What are the 3 Essential Films that you would show 
Artists on their first foray into the Moving Image Realm ?

Three is a severe limitation, but if you insist, one way to get at it is to 
start not with films but with major traditions since mid-century and select 
exemplary works within them. So for example abstract (Brakhage), minimalist 
(Warhol, Wavelength), essayistic (Marker, Farocki, Forgacs). I include 
Brakhage’s lens-captured films in the problematic “abstract.



On Mar 27, 2015, at 11:43 AM, Donal OCeilleachair 
donalo...@gmail.commailto:donalo...@gmail.com wrote:

Dear Frameworkers:

I am working on a new film project with the Ealaíontóirí Mhuscraí
(that's Irish for the Muskerry Region Artists Group)

Part of the project will involve film / video making workshops where I will show
them works from experimental film, creative documentary and artists' moving 
image works
as a point of reference and inspiration for their own initial explorations
into the realm of the moving image

I am compiling a short-list of 'Essential' works to show them during these 
workshops
and I would appreciate responses to the question:
'What are the 3 Essential Films that you would show Artists
on their first foray into the Moving Image Realm ?'

I look forward to hearing any suggestions

Le míle buíochas (with many thanks)
--
Dónal Ó'Céilleachair
www.anupictures.comhttp://www.anupictures.com/

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--
Cari Machet
NYC 646-436-7795
carimac...@gmail.commailto:carimac...@gmail.com
AIM carismachet
Syria +963-099 277 3243
Amman +962 077 636 9407
Berlin +49 152 11779219
Reykjavik +354 894 8650
Twitter: @carimachet https://twitter.com/carimachet

7035 690E 5E47 41D4 B0E5 B3D1 AF90 49D6 BE09 2187

Ruh-roh, this is now necessary: This email is intended only for the
addressee(s) and may contain confidential information. If you are not the
intended recipient, you are hereby notified that any use of this
information, dissemination, distribution, or 

Re: [Frameworks] Women working in Expanded Cinema

[Beebe, Roger W.]

To supplement Steve’s excellent list, I’d try contacting Kathleen Quillian at 
Shapeshifters in Oakland, because she put out a similar call last year  might 
have more names to contribute.

…
Roger

On Mar 20, 2015, at 10:04 AM, Alex Balkam blueswingingd...@gmail.com wrote:

 Hello Frameworks, 
 
 At the Atlantic Filmmakers Cooperative where I work we are interested in 
 inviting women working in the Expanded Cinema realm to join us as Visiting 
 Artists for an Expanded Cinema program we are hoping to develop. 
 
 I was interested to know if anyone on the list would like to recommend 
 practicing Expanded Cinema artists, ideally women who work in the practice. 
 We are primarily interested in artists working with celluloid film, as 
 opposed to video mapping, etc.
 
 Thank you,
 
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Re: [Frameworks] Formula for processing 7240 reversal as vhf or e6?

[Beebe, Roger W.]

Robbie,

Try contacting Nicolas Rey:  nico...@l-abominable.org.  I just sent him 18 
400’ rolls of 7240 that had been lying around forever, and he seems to think he 
can make good use of it.

FYI,
Roger

On Mar 14, 2015, at 10:20 AM, Scout Fenn scoutf...@gmail.com wrote:

 Does anyone have a formula for processing the older color reversal 7240 film 
 , which was intended for VNF-1 process, but possible in E6. I'm aware E6 
 process will provide result, but I'm hoping to achieve a higher contrast more 
 saturated image than what E6 results with this stock. Therefore, does anyone 
 perhaps have alterations to E6 or a VNF-like formula that may produce higher 
 contrast and color? Or perhaps a source? I'm hoping to process as reversal  
 rather than crossprocess. Thanks for any assistance .
 -robbie
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Re: [Frameworks] Petrol in Experimental Cinema (Anastasia Tsarkova)

[Beebe, Roger W.]

Gary Hill’s installation at the Fondation Cartier in Paris in 2006/7 included a 
giant reflecting pool filled with motor oil, with a video screen at the end of 
the pool.  That’s the closest I can think of to a direct (re)presentation of 
gasoline as art object.  A review of the show (in French) plus pics can be 
found here:

http://www.paris-art.com/marche-art/gary-hill/hill-gary/265.html

FYI,
Roger


On Feb 21, 2015, at 9:53 AM, Transit Audio Services Ltd. 
transitau...@skylightstudios.camailto:transitau...@skylightstudios.ca wrote:

There was a 16mm doc. from 1972 which deals with a mural that is in the 
Imperial Oil building in Toronto.  The film is  part of the collection in the 
Library  Archives of Canada. It has a searchable database.


http://www.bac-lac.gc.ca/eng/discover/films-videos-sound-recordings/film-video-sound-database/Pages/item.aspx?IdNumber=380521

Enjoy,
__
Dean Allen
Transit Audio Services Ltd.
Toronto

On 2015-02-21, at 7:00 AM, 
frameworks-requ...@jonasmekasfilms.commailto:frameworks-requ...@jonasmekasfilms.com
 wrote:

Petrol in Experimental Cinema (Anastasia Tsarkova)


Dear Frameworkers,

Do you know any films where there is an image of petrol, where this substance 
is presented as an art object ?

Thank you in advance !


--
Cordialement,
Anastasia TCARKOVA
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Re: [Frameworks] Francis Lee?

[Beebe, Roger W.]

Following up on Nicky’s post, here’s a very good overview of best practices in 
fair use provided by the College Art Association:

http://www.collegeart.org/fair-use/

Your use would certainly be covered.

Best,
Roger

On Feb 19, 2015, at 8:42 AM, 
nicky.ham...@talktalk.netmailto:nicky.ham...@talktalk.net 
nicky.ham...@talktalk.netmailto:nicky.ham...@talktalk.net wrote:

As far as the UK is concerned you don't need permission to reproduce a frame 
from a film, as long as you don't ask. Some organisations, like the Warhol 
Foundation, pursue everyone for anything, however small, but it's unlikely in 
this case, I would have thought. This is based on my own experience of 
publishing a book which contained, e.g. a frame enlargement from Blowup,

Nicky.


-Original Message-
From: Gregory Zinman gzin...@mac.commailto:gzin...@mac.com
To: Experimental Film Discussion List 
frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com
Sent: Wed, 18 Feb 2015 15:12
Subject: [Frameworks] Francis Lee?

Hello,

I’m publishing an essay and would like to use an image from Francis Lee’s film 
1941. Does anyone know who might hold the rights to the film? I know that it 
was included in the Unseen Cinema set from several years ago. Thanks in advance 
for your help!

Best,

Greg

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[Frameworks] projector belts

[Beebe, Roger W.]

All,

Out on the road in New Orleans I was given an Eiki NT-0 that’s missing its main 
drive belt.  I’m now in Los Angeles, and I’m wondering if anyone knows 
somewhere locally where I could pick up a belt.  I just measured  it looks 
like it’s about 9 3/4”.  I know people have posted here before about creative 
alternatives to proper projector belts, so I’m open to anything that I can find 
in a hurry.  (I need to see on Monday if this projector will work; otherwise 
I’ll need to grab a projector when I’m back in Ohio on Tuesday.)

Thanks in advance, hive mind.
Roger
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Re: [Frameworks] Film cameras latest models

[Beebe, Roger W.]

When was the Aaton A-Minima introduced?  Early 2000s?  Late 1990s?  That’s the 
most recent big film camera launch I remember.  But doesn’t it seem like there 
are kickstarters for new film cameras all the time still?  Wasn’t there some 
Scandanavian s8 camera just a few years ago (that was going to be outrageously 
expensive)?  I think it’d be hard to come up with a definitive list of those 
smaller products.  I tired to look at the super8wiki to see if there was a way 
to search the cameras by model year, but it doesn’t seem especially easy to do.

2 cents,
R.

On Jan 18, 2015, at 8:55 AM, Pablo Marin 
pamari...@yahoo.commailto:pamari...@yahoo.com wrote:

Hi all,

Just a quick question, inspired by the recent introduction of the Logmar S-8 
camera and its statement about being the first new Super 8 camera to hit the 
market in 30 years.

Does anybody knows besides this Logmar machine when was the last film camera 
model introduced to the market? I'm sure it would have to be a 35mm/70mm or 
maybe Super 16? Early 2000s?

Thanks a lot!
Pablo.


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[Frameworks] upcoming multi-projector shows

[Beebe, Roger W.]

All,

If you live between New Orleans and Los Angeles (viz., New Orleans, Houston, 
Austin, Dallas, Albuquerque, Tucson), I’ll be visiting your town in the next 
dozen days or so.  Not just visiting, of course, but hawking my multi-projector 
wares as part of a 3-month tour of which this is the first leg.  Come out and 
say hello.  Those on this first leg will get to see me try to figure out my new 
5-projector film as I perform it.  More details about what I’m doing are here:

http://rogerbeebe.com/films/spring15tour.pdf

(Note tour dates/venues at the end of the pdf.)

Hope to see some of you out on the road.
Roger
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Re: [Frameworks] Film cameras latest models

[Beebe, Roger W.]

For an additional 2 cents, I got this email off list from Travis Wilkerson:

 I think the Ikonskop A-Cam was the last film camera newly introduced since 
the Logmar. The last version came out around 2004 or so. Those guys were doing 
great stuff and I think their digital camera may have been one of the better 
stabs at it, but sorting it out sank the company. Alas. “

He noted in a short additional message that camera was super 16mm.

FYI,
R.

On Jan 18, 2015, at 10:25 AM, Beebe, Roger W. 
beebe...@osu.edumailto:beebe...@osu.edu wrote:

When was the Aaton A-Minima introduced?  Early 2000s?  Late 1990s?  That’s the 
most recent big film camera launch I remember.  But doesn’t it seem like there 
are kickstarters for new film cameras all the time still?  Wasn’t there some 
Scandanavian s8 camera just a few years ago (that was going to be outrageously 
expensive)?  I think it’d be hard to come up with a definitive list of those 
smaller products.  I tired to look at the super8wiki to see if there was a way 
to search the cameras by model year, but it doesn’t seem especially easy to do.

2 cents,
R.

On Jan 18, 2015, at 8:55 AM, Pablo Marin 
pamari...@yahoo.commailto:pamari...@yahoo.com wrote:

Hi all,

Just a quick question, inspired by the recent introduction of the Logmar S-8 
camera and its statement about being the first new Super 8 camera to hit the 
market in 30 years.

Does anybody knows besides this Logmar machine when was the last film camera 
model introduced to the market? I'm sure it would have to be a 35mm/70mm or 
maybe Super 16? Early 2000s?

Thanks a lot!
Pablo.


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Re: [Frameworks] new book, AVANT-DOC

[Beebe, Roger W.]

It’s out, despite what the release date said when I ordered it.  I was actually 
reading my copy last night.  It plugs perfectly into my current grad seminar 
(Strategies of the Real), so I’m trying to find a slot to plug it in before the 
semester’s end!

FYI,
R.

On Nov 10, 2014, at 7:49 AM, Brecht Debackere 
bre...@visualantics.netmailto:bre...@visualantics.net wrote:

Hey Scott,

Looks interesting. Any news on the release date?

best,

Brecht Debackere


V I S U Λ ˩ Λ N T I C S

www.visualantics.nethttp://www.visualantics.net/
Rue Bara 173-177 Barastraat
Bruxelles 1070 Brussel

T+32(0)2 560 21 27
M+32(0)498 319 302
F+32(0)70 41 60 95

Skype : Bdebackere
www.exprmntl.behttp://www.exprmntl.be/



On 07 Nov 2014, at 17:19, Luiz Garcia 
lzgar...@gmail.commailto:lzgar...@gmail.com wrote:

Thank you M. MacDonald!

Will surely contribute greatly to my research and others.

Best,

Luiz Garcia

2014-11-07 17:05 GMT+01:00 Scott MacDonald 
smacd...@hamilton.edumailto:smacd...@hamilton.edu:
PS Oops, I meant to say Oxford University Press.

Sorry!

On Fri, Nov 7, 2014 at 8:01 AM, Scott MacDonald 
smacd...@hamilton.edumailto:smacd...@hamilton.edu wrote:
Dear Frameworkers,

Here is the Press's description of my new book, AVANT-DOC: Intersections of 
Documentary and Avant-Garde Cinema. The book may be of interest for some of you:

Avant-Doc: 23 in-depth interviews exploring the intersections between 
documentary and avant-garde filmmaking. Scott MacDonald reviews early overlaps 
between what have seemed two distinct traditions, then talks with seminal 
figures in the evolution of ethnographic film (Robert Gardner and Lucien 
Castaing-Taylor,  founder of Harvard’s Sensory Ethnography Lab, avant-doc’s 
most productive studio) and personal documentary (Ed Pincus, Alfred Guzzetti, 
Ross McElwee, Nina Davenport, Jonathan Caouette) and with crucial contributors 
to the modern European “avant-doc”: Dutch-Indonesian Leonard Retel Helmrich, 
Austrian Michael Glawogger, and Portuguese Susana de Sousa Dias. Paweł Wojtasik 
discusses how a mystical experience freed him from depression so that he could 
realize a cinematic form of perceptual transcendence; and Todd Haynes discusses 
his early faux documentary, Superstar: the Karen Carpenter Story and how his 
early experiences with avant-garde filmmakers and experimental documentaries 
paved the way for the commercial anti-biopic I’m Not There.
MacDonald’s interviews with filmmakers who have been working for 
decades create a context for a panorama of discussions about recent 
breakthroughs, including Jane Gillooly’s Suitcase of Love and Shame, Amie 
Siegel’s DDR/DDR, Alexander Olch’s The Windmill Movie, Betzy Bromberg’s 
Voluptuous Sleep, Godfrey Reggio’s Visitors, Castaing-Taylor and Véréna 
Paravel’s Leviathan, Jennifer Proctor’s A Movie by Jen Proctor, and Stephanie 
Spray and Pacho Velez’s Manakamana. The 22 filmmaker interviews are preceded by 
a conversation with Annette Michelson about what led to her early championing 
of documentary pioneer Dziga Vertov and avant-garde filmmakers Stan Brakhage, 
Yvonne Rainer, and Hollis Frampton in Artforum. An extended discussion of the 
thinking behind Harvard’s Sensory Ethnography Lab concludes the volume.

Best,
Scott
Scott MacDonald



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Re: [Frameworks] Pac Lab

[Beebe, Roger W.]

I wonder if this might’ve been A1.  I used them for several years until they 
shut down.  My TB TX DANCE contact prints were done there and done well.

…
R.

On Sep 23, 2014, at 4:07 PM, Jay Hudson 
jkh30...@gmail.commailto:jkh30...@gmail.com wrote:

No, it was done there according to the student.  The processing was very good 
too, better than what Pac Lab usually did.

On Tue, Sep 23, 2014 at 4:03 PM, David Tetzlaff 
djte...@gmail.commailto:djte...@gmail.com wrote:
One of the students got Super 8 processed at some random photo place in the 
middle of Brooklyn.

They almost certainly just shipped it out, probably to Pac Lab.

On Tue, Sep 23, 2014 at 12:28 PM, Jay Hudson 
jkh30...@gmail.commailto:jkh30...@gmail.com wrote:
Funny thing is, when I was working at Millennium, one of the students of the 
basic filmmaking class got Super 8 processed somewhere in the middle of 
Brooklyn. I never got the name and have never heard anything about it from 
other film makers.  I would love to try and find this place.  It was some 
random photo place.  Sound familiar to anybody?


On Tue, Sep 23, 2014 at 1:35 PM, Matt Whitman 
i...@mawhitman.commailto:i...@mawhitman.com wrote:
Very disappointing to hear this. Perhaps as they sell their equipment a 
film/analog ally such as Mono No Aware, Millennium, or a colleague will pick up 
the equipment as a way to continue offering reversal film processing service in 
the NYC area - but this would be a lot to take on I am sure.


On Sep 23, 2014, at 1:13 PM, Adam Levine 
alev...@amherst.edumailto:alev...@amherst.edu wrote:

They are closed for good- we use them for student work and they confirmed this 
yesterday.

On Sep 22, 2014, at 4:55 PM, Matt Whitman 
i...@mawhitman.commailto:i...@mawhitman.com wrote:

if you call their phone number, there is a message that they are currently 
closed for maintenance. they keep pushing back the re-open date in the message 
though...

// www.mawhitman.comhttp://www.mawhitman.com/
// 610.416.4948tel:610.416.4948

On Sep 22, 2014, at 4:52 PM, Edward Choi wrote:

I was under the impression that they had just closed temporarily to renovate 
their space?

edo

On Monday, September 22, 2014, Jay Hudson 
jkh30...@gmail.commailto:jkh30...@gmail.com wrote:
Someone on Facebook said Pac Lab went under.  Any confirmation?
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Re: [Frameworks] Film EQ Garage Sale – 16mm, Super 8mm, and more...

[Beebe, Roger W.]

Ken,

What kind of splicer is the 16mm?  I’m always in the market for more guillotine 
splicers for my students, although I’ve had some (the Amatoris, for ex.) that 
were so bad that I couldn’t possibly put them in service.

Crazy/sad that you’re unloading all this.  Hope you’re keeping plenty of gear 
for your own work still.

Best,
Roger

On Sep 13, 2014, at 11:59 PM, Ken Paul Rosenthal 
kenpaulrosent...@hotmail.commailto:kenpaulrosent...@hotmail.com wrote:

Everything is in excellent working order, and in good-to-excellent cosmetic 
condition, unless otherwise noted. Please email me--off-list only--for details. 
I am based in San Francisco, so prices do not include shipping. I feel rather 
sad to let these cherished pieces go, as I put so much love into tracking them 
down. But they have been hibernating for years, and deserve to be used by film 
lovers and lovers of film. BONUS: Each person who makes a  purchase will 
receive one free Mad Dance Mental Health Trilogy DVD (see Mad Dance web link 
below). I can send you pictures of the pieces you're interested in but I expect 
to receive dozens of inquiries, so please be patient until I can reply. 
However, if anyone would like a PDF of the entire list, I can send that to you 
immediately upon request...Thanks! Ken
www.kenpaulrosenthal.comhttp://www.kenpaulrosenthal.com/
www.maddancementalhealthfilmtrilogy.comhttp://www.maddancementalhealthfilmtrilogy.com/
16mm
- Kodak Pageant 250S 16mm sound projector (NOTE: pedestal is loose)  $150
- 16mm Moviescope  $50
- 16mm 4-Gang Syncronizer $35
- 16mm Splicer $40
- Bag of 16mm splicing tape: 5 x clear unperforated, 2 x clear double-perf, 2 x 
white double-perf $10
- Bag of 16mm leader: 1 x 100ft. white single perf, 2 x 100ft. Clear double 
perf, black leader short ends  $8
- Projector Lens: Graflex 2-inch, f1.6, SOMCO  $8
- Projector Lens: Graflex 2-inch, f1.6, Somtar  $8
- 2 x 400 foot metal 16mm reels  $5
- 4 x 150 foot 5 inch plastic reels  $4
- 14 x 16mm 3.5 inch plastic reels  $10
- 7 x 16mm 3.5 inch metal daylight spools  $6
- 3 x Double 8mm 2 inch plastic reels  $1
- 1 x 4 inch plastic FPC core and 1 x 3 inch plastic core  $1
- 12 x 16mm animated titles, each one is 4 feet long  $5
SUPER 8mm
- Sankyo Sound XL-620 Supertronic Super 8mm Camera in original Kodak camera 
bag, includes 9v power adapter $150
- Bolex 18-5L Projector with original instruction book $90
- Super 8mm 2-Gang Syncronizer  $20
- Elmo Motorized Super 8mm Sound Editor 912/S  $90
- Minolta S5 Viewer Editor  $70
- Spare Hood/Glass for Minolta S5 Viewer Editor  $5
- 2 x Eumig SERIE 600 Daylight Viewer (*connects to front of Eumig Mark 610D 
projector) $25/each
- Elmo Viewer Type 100 Daylight Viewer (*connects to front of Elmo Super 8 
projector. NOTE: attachment bracket is bent, but viewer is in perfect 
condition)  $15
- 3 x Wurker Super 8 Splicers  $45/each
- Sankyo Interval Timer, ½ to 60-second intervels, rotary dial, hot shoe mount, 
in original case  $10
- Craig Regular 8mm Junior Rewinds, includes plastic super 8mm core adapters $10
- 19-foot combination mic/remote cord for super 8mm cameras  $10
- 14-foot combination mic/remote cord for Elmo super 8mm cameras  $8
- 12-foot remote cord for super 8mm cameras  $5
- Canon BM 10,17-inch telescoping mic for super 8 cameras, hot shoe mount, in 
original case (NOTE: untested)  $5
- Elmo EC-101 Electret Condenser Mic (NOTE: untested)  $4
- Re-loadable Super 8 cartridge, Russian  $10
- Bag of 28 x 50ft S8mm reels, 3 x 100ft S8 reels, and 1 x 150ft S8 reel—all 
plastic $15
- The coolest tin metal 50-foot Super 8mm reel you ever saw $1
- Sankyo CME1100 Macro Titler, includes 9 x mattes in 35mm slide mounts, in 
original case $5
- 8 x assorted Kodachrome super 8mm titles, each one is 17 inches long  $5
- 20 feet of SMPTE Super 8 registration target in original tin can  $5
- 9 x regular 8mm to super 8mm plastic spindle/reel adapters  $1
OTHER
- Polaroid Instant One Step Camera  $25
- Keson Industries 50-foot crank fiberglass measure tape  $10
- 2 x Whirlwind Accusonic 16-foot male to female XLR cables  $11 for both
- 1 x Whirlwind Accusonic 3-foot male to female XLR cable  $4
- Kodak Cine Exposure Calculator T8-133, in original case with instructions  $1
- 2-foot heavy duty cable release, dial lock  $5
- Duplikin ll 16 to 35mm Printer by Century Optics C3750  $15
- Tiffen Professional Series 9 Filter, 8 Yellow 2, in hard case  $5
- Canon C-67 lens cap  $1
- 6-foot XLR to mono mini plug  $5
- Hurricane Jumbo air bulb  $1
- American Cinematographer Manual, 8th Edition  $5
- 1 x 35mm 3.5 inch daylight spool  $1
- iMic USB Stereo Audio Device, connects mic and other sound input devices to 
computers, includes CD Rom  $3
- Portable Electronic Keyboard 4.5 x 17 inches, 37 keys, 22 rhythm  orchestra 
effect buttons, 4 custom drummer buttons, takes 4 x 1.5v batteries  $10
- SONY Professional Walkman Stereo Cassette Recorder WM-D6C, with power 
adaptor, Sony ECM 909A stereo mic, instructions, carrying case, 

Re: [Frameworks] Kodak Film Stocks to be Discontinued, Announced in December

[Beebe, Roger W.]

I’ve been lamenting the loss of these stocks along with the rest of you.  But I 
also was thinking of the bigger historical context of this current crisis, and 
that gave me some peace of mind.  I know that when I arrived at the University 
of Florida in 2000, a colleague explained that the reason they’d stopped 
shooting film was that “it’s so hard to get film stock now.”  My response:  
800.621.3456.  Seemed easy to me.  But he showed me an info sheet from Buffalo 
in the 1970s, which listed the 7 or 8 places in town you could go to pick up a 
roll of motion picture film.  For him (and his generation), the loss of local 
vendors was a giant crisis, one big enough to drive some to abandon film 
altogether.  It seems to me we’re in a similar moment, where those of us who’ve 
relied on Kodak as our one-stop shop feel like we’re at a critical juncture, 
but maybe it’s really not that bad after all.

This thread has been reassuring in pointing to all the ways that we’ll still be 
able to keep going after the inevitable decline of Kodak.  Maybe it won’t be 
quite as convenient, maybe we’ll pay a few bucks more, but it sounds like we’ll 
continue to have plenty of tools at our disposal, including maybe some new ones 
that will be wonderful in ways we haven’t yet discovered.

In solidarity,
R.

p.s.  Remember how cheap film used to be before the Hunt Brothers tried to 
corner the silver market?  I don’t either.  THE GOOD OL’ DAYS ARE RIGHT NOW.


On Aug 31, 2014, at 11:24 AM, Mike Morris 
m_alex_mor...@yahoo.commailto:m_alex_mor...@yahoo.com wrote:

When talking to kodaks representative I asked about ordering some 7302 for a 
class, since we won't be able to know when the back order of 7363 will come in. 
Evidently it has been a stock that was kept on hand and ordered in 4000 ft 
cans, but will now be made to order, same as 3378, which means 6x4000, or 24000 
ft minimum purchase.

I don't know if anyone else is already doing so, but I'm tempted to try to put 
some money down, spool those stocks down, then sell them off for what 400' or 
100' might have cost. Would people be interested in this, and does this seem 
like a viable plan? I feel like there are some labs that might do this already, 
but maybe what kodak needs is a middle man?




Message: 11
Date: Sat, 30 Aug 2014 11:22:13 -0700
From: 40 Frames i...@40frames.orgmailto:i...@40frames.org
To: Experimental Film Discussion List 
frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Kodak Film Stocks to be Discontinued,
   Announced in December
Message-ID:
   
caauwommdoze+iifmu1tftps77cn09m3p+tlfd2lobwv1eld...@mail.gmail.commailto:caauwommdoze+iifmu1tftps77cn09m3p+tlfd2lobwv1eld...@mail.gmail.com
Content-Type: text/plain; charset=utf-8

On Sat, Aug 30, 2014 at 9:53 AM, Jean-Louis Seguin 
bolext...@gmail.commailto:bolext...@gmail.com
wrote:


Cheap shot? Maybe. I'm just so disappointed in Kodak, personally.

I meet filmmakers all the time and it's surprising how many completely
ignore the fact that there are other manufacturers in the world apart from
Kodak that produce motion picture film stock. Some are truly amazed when I
mention this to them.
True, when it comes to color negative stocks, Kodak are the only source at
the moment. For everything else, there are options out there, luckily.

It is a little complicated with Kodak's recent discontinuation of stocks.

I like ORWO, however ORWO stocks -- both UN54 and N74 -- do not run through
one of my cameras without needing
to make adjustments for running color vs. BW. I've had issues with ORWO in
another camera as well. I've had few issues
like this with Kodak BW stocks.

Also, with Kodak, being in education, I get a discount which makes it lower
in cost than ORWO.

I've been shooting a project that uses Double-X (7222), Tri-X (7266)
processed as negative and ORWO's UN54 and N74. When all of these stocks are
printed to 7203 the differences are pretty slight. I don't know what labs
are printing to ORWO's
BW print stocks... though I would be curious to know, since 7203 and 3302
may be put on the chopping block soon.

Ferrania (http://www.filmferrania.it/) might be starting production of
color film stocks, but I have yet to see anything...and
who knows when such a stock will become available in North America.

I'm not disagreeing with you necessarily, I just think that ORWO and
Ferrania will have to prove they have the same level
of QC as Kodak does (and Fuji did). Not that Kodak is/was flawless, but
it's amazing how close to perfect they can get in
manufacturing their stocks.

Alain

Sent from my iPhone
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Re: [Frameworks] films using the optical printer

[Beebe, Roger W.]

In the same spirit as Mark's post, I wanted to note that Peter Tscherkassky's 
Cinemascope trilogy is actually contact printed in short stretches (much of 
it using a laser pointer) rather than optically printed.  He must surely have 
used an optical printer in some of his films (maybe Happy End, for ex.), but 
since the previous poster only dropped his name without specific films, I 
thought it was a point worth clarifying...

R.


From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of Mark 
Toscano [fiddy...@gmail.com]
Sent: Wednesday, August 06, 2014 8:04 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] films using the optical printer

Baillie's CASTRO STREET has no optical printing in it.  It's all in-camera 
matting or A/B/C lab printing.

Also, it periodically needs to be said that Pat O'Neill's 7362 has NO optical 
printing in it whatsoever.  It's all contact printing and hand-processing.  A 
lot of people tend to talk about Pat's optical work, then show 7362 as an 
example in both public screenings and classes (sorry Jason!).  Pat's first 
foray into optical printing came approximately two years later in his 
installation piece SCREEN (1969), and then with RUNS GOOD, etc. after that.

That said, Pat is, as has already been said, an unparalleled artist in the 
medium, and though optical printing was for him merely a technological tool for 
achieving quite advanced aesthetic ideals, he is unsurpassed in his artful and 
visionary use of the thing.  Probably the most convenient and exemplary short 
film of his for explaining, demonstrating, or teaching optical printing work is 
SAUGUS SERIES, which in some ways functions as both a notebook of incredible 
visual ideas pretty much without precedent, and an unintentional compendium of 
highly diverse suggestive uses for the optical printer.  But you pretty much 
can't go wrong with ANYTHING Pat's made.

Mark Toscano



On Wed, Aug 6, 2014 at 12:48 PM, Stefan Grabowski 
ste...@radonlake.commailto:ste...@radonlake.com wrote:
Bruce Baillie's 'Castro Street' has some really beautiful optical printing work.


From: bigmuddy2...@hotmail.commailto:bigmuddy2...@hotmail.com
Date: Wed, 6 Aug 2014 13:32:24 -0600
To: frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com

Subject: Re: [Frameworks] films using the optical printer

This is a great list! Barbara Hammer would be a good addition

Sent from my iPhone

On Aug 6, 2014, at 1:29 PM, Jason Halprin 
jihalp...@gmail.commailto:jihalp...@gmail.com wrote:

Hi Carolyn,

Below is the screening list from the last time I taught Optical Printing at 
Columbia College. I agree that Pat O'Neill is probably the greatest example of 
Optical Printing artistry, and include much of his work is available for 
purchase in DVD form. However, I would also stress that it was amazing to take 
the prints of his work and view them on rewinds with a light table so that 
students could really study how he created his looks. I love Water and Power 
too, and usually saved it until the last class in the semester.
-Jason Halprin


DAILY SCHEDULE



Class 01 – January 25th

Screening:   Pas de deux (Norman McLaren, 13 min, 1968)



Class 02- February 1st

Screening:   Passage à l'acte (Martin Arnold, 15 min., 1993)



Class 03- February 8th

Screening:   Piece Touche (Martin Arnold, 15 min., 1989)
Zocalo (Richard Myers, 15 min, 1972)
Spitting Image (Paula Froehle, 3 min., 1992)



Class 04- February 15th

Screeing: 7362 (Pat O’Neill, 10 min, 1967)
Roseblood (Sharon Couzin, 7 min., 1974)



Class 05- February 22nd


Screening:   Watersmith (Will Hindle, 25 min, 1969)

Film Wipe Film (Paul Glabicki, 32 min, 1984)



Class 06

Screening:   Wild Gunman (Craig Baldwin, 20 min, 1978)
Television Assassination (Bruce Conner, 14 min, 1964/95)
Cosmic Ray (Bruce Conner, 4 min, 1961)



Class 07- March 8th

Screening:   Alone, Life Wastes Andy Hardy (Martin Arnold, 15 min, 1998)
Flicker: Unsteady Motion (Paula Frohele, 7 min, 1995)





Class 08- March 15th

Screening:   Frame (Ken Kobland, 10 min, 1976)
Vestibule (Ken Kobland, 24 min, 1979)



Class 09- March 29th

Screening:   Chinese Fire Drill (Will Hindle, 25 min, 1968)
Runs Good (Pat O’Neill, 15 min, 1970)





Class 10- April 5th

Screening:   Elasticity (Chick Strand, 25 min, 1976)
Babobilicons (Dana Krummins, 18 min, 1982)



Class 11- April 12th

Screening:   Nocturne (Phil Solomon, 10 min, 1980)
Remains to be Seen (Phil Solomon, 17 min, 1989)


Class 12- April 19th

Screening:   The Idea (Bill Knowland, 20 min, 1990)



Class 13- April 26th


Screening:   Milk and Honey 

Re: [Frameworks] Fibonacci Sequence

[Beebe, Roger W.]

Abigail Child mentioned that the structure of “Surface Noise” is based on the 
Fibonacci sequence when she screened it at the Harn Museum a decade ago.  I’m 
not sure I understood exactly what she meant—I hadn’t sensed it in watching the 
film—but I’d be curious to look again with that in mind.  (She mentioned it in 
QA after the screening.)

…
R.

On Aug 5, 2014, at 5:32 PM, Brian Murphy 
bmurphy.sybi...@gmail.commailto:bmurphy.sybi...@gmail.com wrote:

COLOR SERIES by Madison Brookshire deals with this.



Brian


On Tue, Aug 5, 2014 at 5:26 PM, c b 
bigmuddy2...@hotmail.commailto:bigmuddy2...@hotmail.com wrote:
Greetings Frameworkers,

I'm looking for experimental films that engage with the Fibonacci sequence - 
suggestions?

Thanks!

Cade

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Re: [Frameworks] times for dektol and 7363

[Beebe, Roger W.]

I’ve used Dektol with hi-con plenty, but my experience is that exposure times 
are VERY short, definitely less than 1 min with the chemistry at room 
temperature, even when I dilute the developer.  (It slows considerably as the 
chemistry gets exhausted, of course.)  I rate hi-con at ASA 12 when I shoot it, 
so that could make a difference in time to proper exposure.  Like Christopher 
suggests, I do use a safelight with 7363 and just eyeball proper exposure, but 
I find it VERY easy to miss the mark  end up with black film.  (I also process 
as negative, since I don’t love the idea of dealing with scary bleach.)  

I’m certainly not a lab expert, but I do demos of this regularly enough with my 
students to feel pretty confident that my results are repeatable and that these 
very fast development times aren’t just a one-time quirk.

Can anyone else confirm this?
Roger


On Aug 4, 2014, at 2:08 PM, Chris G spy...@gmail.com wrote:

 Hi Erin,
 
 7363 is orthochromatic and is process until completion, so you can't *really* 
 overprocess it. It is extremely forgiving in terms of time and temperature. 
 I'd recommend processing under a safelight so you can watch the process. 
 Using a paper developer such as Dektol will afford you a wider range of 
 tones/greys over film developers and is a great way to play with the stock. 
 D-19 is a high-contrast developer and will typically give you black or white 
 with little in between. Usually I process short strands (40'/12m or less) of 
 7363 in trays or buckets with paper developer and a safelight until it looks 
 done. Guessing around 5-6 minutes at 68F/20C. I've honestly never checked 
 the time but have had a lot of success with this method.
 
 Cheers,
 Christopher Gorski
 
 On Aug 3, 2014, at 22:09, Erin Weisgerber eri...@gmail.com wrote:
 
 Hello all,
 
 I usually use D-19 to process 7363 to negative, but I'm thinking of trying 
 out Dektol for this purpose.
 
 Would anyone be willing to share some guidelines processing times for 7363 
 processed to neg in Dektol?
 
 How would you describe the difference in look between '63 developed in D-19 
 compared to Dektol?
 
 Thanks so much for your help.
 
 Erin
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[Frameworks] FLEXfest 2015 call for entries

[Beebe, Roger W.]

All,

While I’m no longer at the helm of FLEXfest (the Florida Experimental 
Film/Video Festival), I still did want to spread the word that their 2015 call 
for entries has just gone online.  No entry fees for alums and international 
entrants.  (Still a modest $10 for domestic first-timers.)  Please do send your 
work.  Alisson Bittiker and crew will surely do a bang-up job in my absence, 
but they’ll need your films and videos in order to make that happen.

http://www.flexfest.org/flexfest-2015-call-for-entries.html

…
R.
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[Frameworks] Bolex 16/super 16 conversion

[Beebe, Roger W.]

Back to celluloid now after my brief foray into the digital world.  Does anyone 
have recommendations for where to get a Bolex converted to super 16?  Also, 
I’ve got both an SBM and a REX 4—is there any reason to convert one rather than 
the other?  Also (finally) how do I know (in advance) if my lenses will cover 
super 16?

Thanks, Frameworkers, for always knowing more than I seem to…
Roger
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Re: [Frameworks] Films made on 15/70mm

[Beebe, Roger W.]

But Jodie's film is just regular 8 perf 70mm, right, not 70/15 perf (Imax), 
which was the original question?  Someone correct me if I'm wrong about that...

?
R.


From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of Warren 
Cockerham [warrencocker...@gmail.com]
Sent: Monday, July 28, 2014 11:44 AM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Films made on 15/70mm

Herb  Ekram,

Jodie Mack and Danielle Ash did make a 70mm direct animation film that I 
believe was commissioned by Orphans it was documented on video and posted 
on Jodie's vimeo page here:  http://vimeo.com/57294787

Warren


On Mon, Jul 28, 2014 at 9:28 AM, Herb Shellenberger 
he...@ihphilly.orgmailto:he...@ihphilly.org wrote:
Hey Ekrem,

I’m not seeing it on the online program 
(http://www.nyu.edu/orphanfilm/orphans8/ ) but I’m fairly certain Jodie Mack, 
possibly in collaboration with another artist, showed a 70mm direct animation 
film at the 8th Orphan Film Symposium in 2012. It was my understanding that it 
was an original and I think it was a last minute addition to the program, in 
light of it being held at the Museum of the Moving Image which has 70mm 
capability. It must have been an original and not a print.

Hope someone else can back up my statement which I’m almost certain was not 
some sort of elaborate nerd-dream.
Herb Shellenberger
Programs Office Manager
[cid:image001.jpg@01CE5258.78B1F010]
3701 CHESTNUT STREET | PHILADELPHIA, PA 19104
phone: 215.895.6575tel:215.895.6575   |  fax: 215.895.6562tel:215.895.6562
email: he...@ihphilly.orgmailto:he...@ihphilly.org | web: 
www.ihousephilly.orghttp://www.ihousephilly.org/


From: FrameWorks 
[mailto:frameworks-boun...@jonasmekasfilms.commailto:frameworks-boun...@jonasmekasfilms.com]
 On Behalf Of Ekrem Serdar
Sent: Saturday, July 26, 2014 1:52 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Films made on 15/70mm

Thanks for the tip Roger. I imagined if there were any that they'd be probably 
direct animation. I know Brakhage made Night Music on it, but I highly doubt 
it's projectable (or that he made a 70mm print of it!) That said, I also don't 
know how the machine would handle any direct originals to begin with. Probably 
fine... but also probably something worth checking.

Commission might be the best way to go; though I do know that orphaned 70mm can 
be hard to come by. According to a projectionist I was talking to, fresh leader 
is like a $ grand or so. The couple theaters left that do show IMAX still throw 
their trailers out from what I understand (for scavenging), and you 
occasionally see one on ebay. A performance is a possibility too...

Unfortunately, the timeframe to do so might be too short in general - I just 
learned that a very large theater here (the biggest in Texas!) is apparently 
doing the switchover this winter/spring, and I thought it might be a nice send 
off to that mechanical beast (if the theater is interested too). That said, 
it's unclear whether they're going to get rid of it, though considering how 
much space it takes up, I presume they will... but, as said before, all very 
tentative and under investigation.

In general if any of you other folk have been playing around with it, have some 
laying around that you were thinking of doing something with and so on, be in 
touch.

On Sat, Jul 26, 2014 at 12:03 PM, Beebe, Roger W. 
beebe...@osu.edumailto:beebe...@osu.edu wrote:
Ekrem,

Here’s the only one I know of:

http://www.ninapaley.com/pandoramahome.html

Always thought it’d be great to give orphaned prints of Imax film to a bunch of 
direct animators to do as they will.  Maybe you need to commission a program 
rather than just curate it?

Good luck,
R.

On Jul 25, 2014, at 4:12 PM, Ekrem Serdar 
ekremser...@gmail.commailto:ekremser...@gmail.com wrote:

 Hey Framers,

   I'm investigating a possibility where we may be able to do a screening with 
 an IMAX film projector, and I guess I'm wondering if any of you folk have 
 played around with the 15/70 (or know of films that are on it). As said, it's 
 very tentative, and I'm sure there's only a small bunch of you if any, but if 
 you have, be in touch.

  (or if you just worked with regular 70mm and it would work sideways(!) - I 
 presume the film strip is otherwise the same, distance between perfs, etc? 
 Not sure, feel free to correct me.)



 --
 ekrem serdar
 austin, tx
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--
ekrem serdar
austin, tx

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[Frameworks] HD/SD/DVD

[Beebe, Roger W.]

All,

Since in recent days we’ve been discussing codecs  other topics that’re, 
stricto sensu, not film-related, I hoped I might start a similar thread that’s 
probably relevant to most of us still making work on celluloid.  I’ve been 
submitting work to festivals after a long break, and while most of the 
festivals now allow online submissions (which, as long as they don’t go through 
Withoutabox, is a pretty great time saver), but a few festivals still require 
DVD screeners.  I tried to make a DVD of my HD video (using Encore, since my 
new laptop no longer has DVD Studio Pro, which I’d used in the past), and the 
results were so bad that I’m reluctant to send it out.  Does anyone have advice 
about how best to massage HD content into a not-entirely-terrible shape for 
burning to DVD?  Am I inherently going to end up with worse-than-YouTube video? 
 I really feel like it’d be a waste of an entry fee to send along what I 
produced on the first round, so I’m hoping there’s some solution out there 
that’ll produce much better results.

?
R.
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Re: [Frameworks] Films made on 15/70mm

[Beebe, Roger W.]

Ekrem,

Here’s the only one I know of:

http://www.ninapaley.com/pandoramahome.html

Always thought it’d be great to give orphaned prints of Imax film to a bunch of 
direct animators to do as they will.  Maybe you need to commission a program 
rather than just curate it?

Good luck,
R.

On Jul 25, 2014, at 4:12 PM, Ekrem Serdar ekremser...@gmail.com wrote:

 Hey Framers,
 
   I'm investigating a possibility where we may be able to do a screening with 
 an IMAX film projector, and I guess I'm wondering if any of you folk have 
 played around with the 15/70 (or know of films that are on it). As said, it's 
 very tentative, and I'm sure there's only a small bunch of you if any, but if 
 you have, be in touch.
 
  (or if you just worked with regular 70mm and it would work sideways(!) - I 
 presume the film strip is otherwise the same, distance between perfs, etc? 
 Not sure, feel free to correct me.)
 
   
 
 -- 
 ekrem serdar
 austin, tx
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Re: [Frameworks] Experimental Cinema Flip Book

[Beebe, Roger W.]

I know Jodie Mack had some all-star(r) flip-books that she got from Cecile 
Starr.  Jodie, you out there?  Tell the world!  (If I remembered more, I’d 
offer more, but I have only the vaguest of memories of who/what.)


On Jul 15, 2014, at 4:58 PM, Ken Eisenstein 
ken7...@gmail.commailto:ken7...@gmail.com wrote:




Thanks for sharing the flip book !
Hope to hear from someone else about its author.

I think Robert Breer had some Mutoscope activities.
Also, Robert Huot made Zoetrope strips and some other
related stuff. I'll get the details to you soon.




On Tue, Jul 15, 2014 at 2:16 PM, Heath Iverson 
h...@st-andrews.ac.ukmailto:h...@st-andrews.ac.uk wrote:
Hi Frameworkers!

I've got what I suspect is a kinda obscure question. I've been doing some 
research in the paper archives of The Film-Makers' Co-op in New York. Looking 
through early issues of the Co-op's newsletters, I discovered, in 1968's vol.1 
no.3, a 'flip book'-style animation embedded in the lower right side in the 
issue's recto pages. I've made a rough animation viewable on Vimeo here:  
https://vimeo.com/100826180 .https://vimeo.com/100826180 The issue, however, 
doesn't give any credit to the animation's creator. I'm trying to identify to 
whom it might be attributable. Any ideas? Are the images perhaps drawn from a 
film anyone is familiar with? I know Charles I. Levine and Lenny Lipton were 
contributing quite a lot to the publication at this point; could either of them 
be the author?

And while we're at it, a more general question: are there other filmmakers that 
have worked with flip books? There's the Mutoscope and in terms of more 
experimental artists I can think of Douglass Crockwell, but are there others?

Cheers,
Heath


Heath Iverson
PhD Student, Film Studies
University of St Andrews
99 North Street
St. Andrews, KY16 9AD
Scotland, UK


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Re: [Frameworks] educational film question

[Beebe, Roger W.]

Not sure about Blu-Ray, but contact Skip Elsheimer at A/V Geeks.  He’s released 
some DVDs of his greatest finds, and he just got a Kinetta to do scans, so he 
may soon have 2K files or something to make available.

Skip Elsheimer s...@avgeeks.com

…
R.

On May 30, 2014, at 10:14 AM, Charles Chadwick infiltration...@gmail.com 
wrote:

 This is a long shot...but I have been searching for quite a long time for any 
 old educational films or ephemeral films, could be industrials, social 
 guidance films...available on bluray? Anyone with any ideas?
 
 -charles
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Re: [Frameworks] Muybridge and moving image art

[Beebe, Roger W.]

Check out the Scott MacDonald’s Avant-Garde Film: Motion Studies for a 
discussion of a number of such films.

R.

On May 15, 2014, at 4:13 PM, Jesse Pires jessepire...@gmail.com wrote:

 Hello, I'm looking for suggestions for films, videos and other moving 
 image/time-based artworks (historical  contemporary) that are related to the 
 work of Eadweard Muybridge (yes, I suppose it's all related to Muybridge, 
 technically). Thom Andersen's doc is certainly a great start but also 
 thinking about stuff like Gary Beydler's Pasadena Freeway Stills. Thanks in 
 advance.
 
 -Jesse Pires
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Re: [Frameworks] Films about labor and leisure

[Beebe, Roger W.]

I think Kelly mentioned A Propos de Nice, but I’m thinking that most of the 
city symphonies of that era presented both work and leisure as part of their 
portraits.  Berlin, Symphony of a Great City is the one I know best, since I 
teach it often, but you might want to look at Rien que les heures, Man with a 
Movie Camera and other films of the period as well.

…
R.


On May 12, 2014, at 5:03 PM, Francisco Torres 
fjtorre...@gmail.commailto:fjtorre...@gmail.com wrote:

Phil Niblock has done some amazing stuff in Asia


On Mon, May 12, 2014 at 8:34 AM, Gawthrop, Rob 
rob.gawth...@falmouth.ac.ukmailto:rob.gawth...@falmouth.ac.uk wrote:
The Free Cinema movement in the UK is important here.  See
http://www.screenonline.org.uk/film/id/444789/
and Humphrey Jennings'  Spare Time

Rob


On 11/05/2014 16:43, Chris G spy...@gmail.commailto:spy...@gmail.com 
wrote:

 Hi all,

 I'm looking for films that portray situations of labor and leisure
 together. It would be great if there were texts specific to those films,
 but I'm also seeking out writings on/that reference this dynamic within the
 context of films, cinemas or public spaces. I'm trying to find modernist
 essays on cinema as spaces of leisure as well. Obviously Sharon Lockhart's
 Lunch Break comes to mind. I feel like there was a thread similar to this
 a while back, so I apologize if this is redundant, but I wasn't able to
 find anything through a search of the archive.

 Thanks!
 Christopher


Falmouth University

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Re: [Frameworks] Superposition as editing practice

[Beebe, Roger W.]

And which, of course, gets transmuted into the famous Vorkapic (or vorkapich) 
sequences in Hollywood films like Mr. Smith Goes to Washington and Meet John 
Doe.

On Apr 21, 2014, at 1:24 PM, Francisco Torres 
fjtorre...@gmail.commailto:fjtorre...@gmail.com wrote:

The Soviets, especially  Vertov and Eisenstein, included superimposition in the 
montage techniques.

''In Eisenstein's words, the superimposition of distinct visual and audio 
effects doubles up the power of each component, thus squaring the final 
impact.''
Eisenstein at 100: A Reconsideration - Page 95 
http://books.google.com.pr/books?id=qk9XxQnieQMCpg=PA95lpg=PA95dq=superimposition+eisensteinsource=blots=rb7i7W4dyQsig=CKBfsGkRc6WBvhw_bWz28f-qXl4hl=ensa=Xei=61JVU6CuFKazsASzhICwCgved=0CCcQ6AEwAA


http://books.google.com.pr/books?id=qk9XxQnieQMCpg=PA95lpg=PA95dq=superimposition+eisensteinsource=blots=rb7i7W4dyQsig=CKBfsGkRc6WBvhw_bWz28f-qXl4hl=ensa=Xei=61JVU6CuFKazsASzhICwCgved=0CCcQ6AEwAA#v=onepageq=superimposition%20eisensteinf=false


On Thu, Apr 17, 2014 at 9:57 PM, Beebe, Roger W. 
beebe...@osu.edumailto:beebe...@osu.edu wrote:
Leighton Pierce has made a career of finding ways to “overcome the cut” as he 
once put it, primarily by using very complex systems of superimposition.  Some 
of his work can be found on his Vimeo channel.  There’s of course a long 
history of superimposition in experimental cinema—“Fall of the House of Usher” 
and “Lot in Sodom” are both early masterpieces in that idiom—but I’m supposed 
to be grading, so I really can’t fall down this rabbit hole now!

Best,
Roger

On Apr 17, 2014, at 9:50 PM, Kerekes Anna 
kerekes.a...@gmail.commailto:kerekes.a...@gmail.com wrote:

Dear Franworkers,

I appeal to your expertise on superposition as editing practice. As an artist, 
I’m working on an installation project which calls me to set up a taxonomy of 
superposition in the field of moving images (film, video, digital moving 
images). I would very much appreciate your references relevant to this topic.

Thanks in advance for any suggestions you might have,
All the best,
Anna Kerekes

-
Anna Kerekeshttp://www.linkedin.com/pub/anna-kerekes/2b/257/292
+1 (438) 886-0824tel:%2B1%20%28438%29%20886-0824
kerekes.a...@gmail.commailto:kerekes.a...@gmail.com












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Re: [Frameworks] Invitation to visit show at Exploded View in Tucson!

[Beebe, Roger W.]

David,

I’d saved your message when you first announced the launch of Exploded View, 
and I now have occasion to get in touch to see if you’d want to play host to my 
multi-projector roadshow.  Looks like I might be headed West on I-10 in late 
January 2015.  Any chance that date could work for your calendar?  If so, I’d 
love to drop by  see what you’ve got going there.  Might be my last tour for a 
while too—it’s been more than 3 years since my last one  with the new job I 
just started, I don’t think I’ll be able to sneak away quite as regularly.  
Date’s a little flexible for the moment, but there are one or two things I’m 
waiting to hear back about on either end of my road trip, so that’ll lock 
things in a little more.  If you want to campaign for a specific window, feel 
free to do that  I’ll see what I can do.

If you don’t know the roadshow, here’s an old-ish iteration (from Austin in 
2009):

https://www.youtube.com/watch?v=vImp4QRR9w4

And the most recent press release:

http://clas.ufl.edu/users/rogerbb/films/fall11tour.pdf

Let me know what you think.

Best,
Roger
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Re: [Frameworks] Invitation to visit show at Exploded View in Tucson!

[Beebe, Roger W.]

Er, oops.  Sorry all.

On Apr 18, 2014, at 11:25 PM, Beebe, Roger W. beebe...@osu.edu wrote:

 David,
 
 I’d saved your message when you first announced the launch of Exploded View, 
 and I now have occasion to get in touch to see if you’d want to play host to 
 my multi-projector roadshow.  Looks like I might be headed West on I-10 in 
 late January 2015.  Any chance that date could work for your calendar?  If 
 so, I’d love to drop by  see what you’ve got going there.  Might be my last 
 tour for a while too—it’s been more than 3 years since my last one  with the 
 new job I just started, I don’t think I’ll be able to sneak away quite as 
 regularly.  Date’s a little flexible for the moment, but there are one or two 
 things I’m waiting to hear back about on either end of my road trip, so 
 that’ll lock things in a little more.  If you want to campaign for a specific 
 window, feel free to do that  I’ll see what I can do.
 
 If you don’t know the roadshow, here’s an old-ish iteration (from Austin in 
 2009):
 
 https://www.youtube.com/watch?v=vImp4QRR9w4
 
 And the most recent press release:
 
 http://clas.ufl.edu/users/rogerbb/films/fall11tour.pdf
 
 Let me know what you think.
 
 Best,
 Roger
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Re: [Frameworks] query for those who teach filmmaking

[Beebe, Roger W.]

On the original topic of editing software, I’d throw my weight behind switching 
to Premiere.  At the University of Florida, I experimented for a semester with 
FCPX, and I found it buggy  dumbed down in ways that made it hard to do things 
that I’ve come to expect from my editing systems.  The magnetic timeline is one 
of the worst innovations I’ve ever encountered, and the commingling of audio 
and video tracks just makes everything look chaotic.  I’m sure I could’ve 
applied myself  gotten more familiar with the quirks of this system, but I 
preferred instead to switch over to Premiere, which had much more of the feel 
of FCP 7 and also had the advantage of integrating seamlessly with Premiere and 
After Effects.  

I’m also on the UFVA list and this discussion has come up frequently.  FCPX 
does have a few defenders, but it has produced much more dissatisfaction.

I’ve just relocated to Ohio State, and we’ve started anew in Premiere.  The 
person who had been teaching the video classes here was teaching FCPX, but he 
seemed excited to switch over after the troubles he’s had with FCP.

As for hardware, here at Ohio State, our labs all have iMacs.  The older ones 
really do slow down when you attempt to do anything slightly complex; even the 
newer ones are noticeably slower than the Mac Pros I left behind in Florida.  
It is a great cost savings though, and if you only have to pay with your time, 
it just depends on how much you’ll hate having to go make a pot of tea while 
you render a sequence.  It’s certainly not impossible to do interesting, 
layered work on an iMac though.

2 cents,
R.

On Apr 17, 2014, at 9:42 PM, Aaron F. Ross aa...@digitalartsguild.com wrote:

 I would steer clear of iMacs for video editing, they are underpowered. If you 
 want to render HD video, it's going to be slow and painful on even the high 
 end iMacs. The Mac Pro is very fast, but very expensive. It is only available 
 with small solid state drives, so you have to buy additional external hard 
 drives.
 
 Aaron
 
 
 I disagree with $4000.  A 21 iMac - what a school would likely be running 
 Final Cut on - starts at $1299.  I assume there are bulk discounts for 
 schools, but they likely already have the computers.
 
 
 --
 
  Aaron F. Ross, artist and educator
  http://dr-yo.com
  http://digitalartsguild.com
 
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Re: [Frameworks] Films about remediation

[Beebe, Roger W.]

In a similar vein to the list that Andy offers here, Hollis Frampton’s Hapax 
Legomena 1 (nostalgia) makes cinema out of still photos (made cinematic by 
burning them on a hot plate).

And closer to the titles in your original list, Josh (J.B.) Mabe’s “Pastoral” 
reshoots on 16mm a YouTube video of Stan Brakhage’s “Stellar,” which of course 
was made on 16mm film.

And if you’re interested in digital remediation of analogue tape, Evan Meaney’s 
“We Things at Play” turns a VHS tape from 1987 into a digital glitch fest.  
Many of his videos might actually fit this call, including the final 
installment of his Ceibas Cycle, “The Well of Representation,” a digital remake 
of Hollis Frampton’s “Gloria!” as an NES-era video game with a spectral, 
glitched-out ending.

…
Roger

On Apr 2, 2014, at 10:43 AM, Andy Ditzler 
a...@andyditzler.commailto:a...@andyditzler.com wrote:

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.orghttp://www.filmlove.org/
www.johnq.orghttp://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.ukmailto:kim.know...@edfilmfest.org.uk wrote:

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

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Re: [Frameworks] Films about remediation

[Beebe, Roger W.]

Just had another thought about remediation, although one that moves in a 
slightly different direction than the previous posts.  I was thinking about the 
history of Kinescope recordings, where live TV would be shot on film off of a 
video monitor prior to the introduction of videotape (and, in certain 
circumstances and geographical regions, significantly after that as well).  I 
remember the first time I saw one of these films, I was confused by the feeling 
that there was an extra screen inside the screen.  (I think it was the slight 
reflection off the glass of the monitor that tipped me off.)  There are decades 
of such recordings out there, some fairly significant.  Not sure if this would 
fit in with your programming, but I still thought I'd share.

...
Roger


From: FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of 
sc...@financialcleansing.com [sc...@financialcleansing.com]
Sent: Wednesday, April 02, 2014 1:48 PM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Films about remediation

There's Hollis Frampton's TRAVELLING MATTE (1971), part of his HAPAX LEGOMENA 
suite. He filmed with a portapak and subsequently filmed the video with 16mm 
film: given the low light conditions created by Frampton's shooting through a 
tube made by his hand (his inversion of the traditional travelling matte) the 
distortions in the video and the graininess of the bw film create a strange 
mixed texture.

Scott
 Original Message 
Subject: [Frameworks] Films about remediation
From: Kim Knowles 
kim.know...@edfilmfest.org.ukmailto:kim.know...@edfilmfest.org.uk
Date: Wed, April 02, 2014 1:16 am
To: Experimental Film Discussion List 
frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com

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
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f. +44(0)131 229 5501
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The Edinburgh International Film Festival Limited is a subsidiary of the Centre 
for the Moving Image. Registered in Scotland No: SC132453. VAT No: 502 548861. 
Registered Office: 88 Lothian Road, Edinburgh.

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Re: [Frameworks] exp film orgs suggestions

[Beebe, Roger W.]

I haven’t been following this as closely as I might, so apologies if this is a 
repeat, but Chuck’s post about a-g publications made me realize that I haven’t 
noticed Incite getting mentioned in this thread yet.  Not only is it one of the 
few journals focused on experimental media, but the most recent issue was 
specifically focused on microcinemas (and mobile cinemas, expanded cinema, 
etc.).  Apparently they burned through the print run of that issue, but I’m 
given to understand that they’re printing a second run soon.  Take a look at 
their website for full information about this last issue along with previous 
and upcoming ones:

http://www.incite-online.net

…
R.




On Mar 12, 2014, at 6:54 AM, Chuck Kleinhans chuck...@northwestern.edu wrote:

 In terms of publications, there are relatively few that are dedicated solely 
 to experimental work, but there are quite a few that regularly carry some 
 articles and reviews, such as JumpCut (www.ejumpcut.org) and Afterimage 
 (print, but also a web site: 
 http://vsw.org/afterimage/issues/afterimage-vol-41-no-5/)
 
 There is some very good writing on experimental media sometimes found on the 
 web sites of institutions already listerd here.
 
 It's worth it to search both organizations, galleries, specific critics, 
 blogs, artist's sites, etc.  Here's a handful I could quickly grab from a 
 bookmark folder.
 
 http://www.luxonline.org.uk
 http://www.derives.tv
 http://www.jonathanrosenbaum.net
 http://www.filmgalerie451.de/en/dvd/editionen/arsenal/
 http://www.fandor.com/keyframe/james-broughton-light-and-dark
 https://www.nfb.ca
 http://alternativeprojections.com
 http://www.incite-online.net
 http://making-light-of-it.blogspot.com/2009/10/reading-list.html
 http://www.alphavillejournal.com/index.html
 http://reframe.sussex.ac.uk
 http://www.vtape.org
 http://www.moremilkyvette.blogspot.com
 
 Chuck Kleinhans
 chuck...@northwestern.edu
 
 
 
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Re: [Frameworks] Installation works that incorporate hand-painted film

[Beebe, Roger W.]

In addition to Sally Golding (mentioned before—and amazing), FLEXfest this 
weekend featured a projector performance by the Trinchera Ensemble, which 
numbers one woman (Elena Pardo) among their ranks.  

I guess I’ll mention my films too?  (I score 4 out of 6 on the list below.)

R.

On 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
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Re: [Frameworks] Films and videos about music fan culture

[Beebe, Roger W.]

There are some pretty great super 8 fan sequences in Instrument (by Jem Cohen). 
 Overall that’s a pretty wonderful film in the way that it avoids having the 
band play all the jams  just focuses instead on all the stuff around that.

And it’s Trypps #3 with Lightning Bolt (then replaced by Joe Grimm for the real 
trip sequence).

…
R.

On Feb 8, 2014, at 3:50 PM, Adam Hyman 
a...@lafilmforum.orgmailto:a...@lafilmforum.org wrote:

One of Ben Russell’s Black  White Trypps (I forget which number) shows fans at 
a concert from a stage POV, and might be one thing like what you want. I feel 
like there is a Jem Cohen film that also does something similar.


On 2/8/14 12:33 PM, Adam R. Levine 
ada...@gmail.commailto: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


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Re: [Frameworks] artist portraits

[Beebe, Roger W.]

You might want to check out pretty much every one of Marie Losier’s recent 
films.  Also Jem Cohen’s recent “Anne Truitt, Working.”  Not sure if any of 
these are online.

...
R.

On Feb 4, 2014, at 8:36 PM, Ara Osterweil 
aosterw...@hotmail.commailto:aosterw...@hotmail.com wrote:

Hi Kate and fellow frameworkers,
Marielle Nitoslawska's new documentary on Carolee Schneemann, Breaking the 
Frame, is the best film about an artist I've ever seen. It's playing right now 
(until Feb. 6) at Anthology Film Archives in NY. There is a facebook page you 
can join if you want to keep up with other screening dates, perhaps closer to 
you.
Don't miss it.
xx
Ara
Ara Osterweil
McGill University
www.araosterweil.comhttp://www.araosterweil.com/

Date: Tue, 4 Feb 2014 17:16:15 -0800
From: k...@katemakesfilms.commailto:k...@katemakesfilms.com
To: frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com
Subject: [Frameworks] artist portraits

Hi, frameworkers.  I’m looking for examples of portraits of artists and/or 
their processes or their works — sculptors, musicians, poets, other filmmakers, 
etc.  Really interested in hearing about non-standard, non-straight-doc, 
artistic/artist-made films and videos about other artists.  Particularly keen 
on short works.  Bonus points for ones available in some form online.  Thanks 
in advance for any suggestions you might have!

All the best,
Kate

--
kate lain
k...@katemakesfilms.commailto:k...@katemakesfilms.com
626.644.5283

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Re: [Frameworks] Daïchi Saïto mail

[Beebe, Roger W.]

He also has a gmail:  Daïchi Saïto 
dsaitof...@gmail.commailto:dsaitof...@gmail.com

On Feb 2, 2014, at 2:58 PM, William Wees, Dr. 
william.w...@mcgill.camailto:william.w...@mcgill.ca wrote:

daichi_sa...@yahoo.commailto:daichi_sa...@yahoo.com

--Bill Wwees


From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Albert Alcoz
Sent: February 2, 2014 2:44 PM
To: List Experimental Film Discussion
Subject: [Frameworks] Daïchi Saïto mail

Can someone please send me Daïchi Saïto's mail?
Thanks!

Albert
http://www.visionaryfilm.net/
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[Frameworks] Daïchi Saïto (cont.), or, FLEXfest 2014

[Beebe, Roger W.]

I should have also mentioned that Daïchi will be one of several international 
visitors to Gainesville, Florida in just under three weeks (Feb. 21-23) for the 
10th annual FLEXfest (which will also be my last as Artistic Director).  Other 
guests include Rei Hayama from [+] in Tokyo, Guillaume Cailleau from 
LaborBerlin, Sally Golding from Unconscious Archives (etc.) in London, 
Sébastien Ronceray from Braquage in Paris, and the Trinchera Ensemble (Elena 
Pardo, Rafael Balboa, Morris Trujillo, and Eric Ostrowski) from Mexico 
City/Seattle.  There will be screenings of works by our visitors and the 
various groups they are associated with in the evenings alongside roundtable 
discussions during the days.  More information is on the website at 
flexfest.orghttp://flexfest.org.  All events are free and open to the public.

If you’re within a reasonable traveling distance from Gainesville, it should be 
worth the trip.  (I’ll be making the trip back from Columbus, Ohio myself.)  If 
any of you feel tempted to attend and need suggestions for accommodation c., 
don’t hesitate to get in touch.

Best,
Roger

On Feb 2, 2014, at 2:58 PM, William Wees, Dr. 
william.w...@mcgill.camailto:william.w...@mcgill.ca wrote:

daichi_sa...@yahoo.commailto:daichi_sa...@yahoo.com

--Bill Wwees


From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Albert Alcoz
Sent: February 2, 2014 2:44 PM
To: List Experimental Film Discussion
Subject: [Frameworks] Daïchi Saïto mail

Can someone please send me Daïchi Saïto's mail?
Thanks!

Albert
http://www.visionaryfilm.net/
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Re: [Frameworks] Lighting Gel

[Beebe,Roger W]

You can buy Full Blue (aka CTB) gels from Lee Filters in small sheets.  
Precisely what these are designed for...

RB

On Oct 31, 2012, at 11:19 AM, Kevin Timmins wrote:

Hi Frameworks,

Quick question. I'm shooting some film indoors and most my studio lights are 
CFL daylight balanced. However I also have some really nice theater lights 
which will come in handy, however they only take the tungsten type linear 
bulbs. Any ideas what gel I need to use to make them daylight balanced? Ideally 
I want something I can attach permanently to the front of the light... so 
something that wont melt would be great. Any suggestions?

Best
Kevin
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[Frameworks] FLEXfest 2013 final deadline

[Beebe,Roger W]

All,

Just a last reminder that you only have 5 days left to submit your films and 
videos for consideration for FLEXfest 2013.  No entry fee for alums or 
international entrants.  Easy online submission procedures (as well as much 
more about the festival) can be found here:

http://www.flexfest.org/festival2013.html

We've gotten about 800 really amazing entries from around the globe, but we'd 
still love to have your latest in the mix.

Best,
Roger Beebe
FLEXfest Artistic Director
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Re: [Frameworks] cleaning a Bolex prism?

[Beebe,Roger W]

Just rotate the turret out of the way  flip it out  clean with a lens 
cleaning tissue, right?  Shouldn't be a complicated operation, unless your 
model is markedly different from mine.

Good luck!
RB

On Oct 2, 2012, at 12:52 PM, Caryn Cline wrote:

Hi Everyone,

What is the best way to clean a Bolex prism that has a big fingerprint on it?

Thanks for your advice.

CC

--
Caryn Cline
Filmmaker and Teacher
New York City and Seattle, WA
vimeo.com/carynychttp://vimeo.com/carynyc



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[Frameworks] FLEXfest 2013 entry deadline approaching

[Beebe,Roger W]

All,

Just a quick note to remind everyone that the regular submission deadline for 
FLEXfest 2013 is just two weeks away (Sept. 15).  Applications can be submitted 
electronically or by mail, and as always there is no entry fee for 
international entrants or festival alumni and a low entry fee ($10) for all 
others.  Submission procedures and more can be found on the FLEXfest website at 
http://www.flexfest.org/festival2013.html

Looking forward to seeing your films and videos,
Roger Beebe
FLEXfest Artistic Director
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[Frameworks] FLEXfest 2013 Call for Entries

[Beebe,Roger W]

All,

We've just posted the Call for Entries for the 2013 edition of FLEXfest, the 
Florida Experimental Film/Video Festival.  This year we will be accepting 
online submissions for the first time (although we also still welcome 
submissions by mail as well).  As always, there is no entry fee for 
international entrants or for festival alumni.  The full application 
information can be found on our website here:  
http://www.flexfest.org/festival2013.html

Feel free to drop me a line if you have any questions.  I hope you'll all 
consider submitting your recent work.

Best,
Roger Beebe
FLEXfest Artistic Director
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[Frameworks] paris/sunday

[Beebe,Roger W]

Paris Frameworkers,

I'll be doing the last stop on my brief touring multi-projector show here on 
Sunday at 20h30 at La Générale (14, avenue Parmentier).  My screening is the 
conclusion of a weekend of expanded cinema (c.) at La Générale running from 
15h-22h both days.  I'm attaching the full information below.  It seems that 
both days are free as well.  I hope some of you will make it out and say hello.

Best,
Roger

p.s.  I hope I'm allowed this one last promotional email before I ship my 4 
Eiki SSL-0s back to the States.  Apologies for cluttering your inboxes.




Samedi 7 Juillet : 15h-23h, avec en particulier :

17h: MOBILUX par Magik Ciné Mobil
18h : LUZ : installation-performance spéculaire de Cristobal RIO et Antony 
CARCONE.
19h: apéro luminique
20h. LA LUMIÈRE ET L'OMBRE DE CETTE LUMIÈRE
Une performance de Julien ARNAUD avec un dispositif de projection
et une vidéo de Marc PLAS
20h30 L'ETAT GAZEUX, PAYSAGE FILMIQUE A RESPIRER, par Carole ARCEGA et Antony 
CARCONE
22h TWICE A MOVIE performance de Frédéric MATHEVET et Célio PAILLARD  (son) et 
une installation de Marc PLAS (dispositif visuel et mixage vidéo de films de 
science fiction japonais et américains des années 50-60)

Dimanche 8 juillet : 15h-22h.
20h30 : FILMS FOR ONE TO EIGHT PROJECTORS, par Roger BEEBE

Et aussi, en continu le 7 et le 8 : divers ateliers et installations,  dont:
HET (hypothèse extra-terrestre)
c'est une installation sonore de Matthieu CRIMERSMOIS et une
installation vidéo de Marc PLAS. Dispositif zoomorphe pensé comme un système 
nerveux
DIOPTRIE Installation de photographies (série de 6 photographies de
dimensions variables) de Stella MARKIDI
FFF (Free Fermentology Foundation) : microorganisations positives.
+ Massages visuels  et beaucoup d'autres surprises!!!

14 avenue Parmentier, entrée / adhésion libre, 
http://lagenerale.frhttp://lagenerale.fr/

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[Frameworks] Tuesday/London

[Beebe,Roger W]

London Frameworkers,

A late notice that I'll be showing a few of my multiprojector films as part of 
a group show in the Unconscious Archives series tomorrow night at Café Oto at 8 
p.m.  It's a packed bill with 5 expanded cinema performances, and it looks to 
be a really wonderful show.  More details here:  
http://www.cafeoto.co.uk/unconscious-archive-sculpture-joel-stern-roger-beebe-stephen-cornford-simon-payne.shtm.
  Hope you can make it by.

Best,
Roger
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Re: [Frameworks] cutout/collage animators

[Beebe,Roger W]

Frank Mouris

R.

On Jun 28, 2012, at 10:47 PM, Jaimie Baron wrote:

Hi Frameworks,
I'm putting together a list of experimental animators who use cutout/collage 
techniques, particularly those who use found materials (which is kind of all 
of them, I know, but I'm particularly interesting in recognizable found 
materials). I'm looking for relevant filmmakers both past and present. So far I 
have Lotte Reiniger, Harry Smith, Stan VanDerBeek, Terry Gilliam, Larry Jordan, 
Lewis Klahr, Eric Patrick, Jodie Mack, Stacey Steers, and Leslie Supnet. I know 
there are many more. Any suggestions for filmmakers/films? Thanks!
Jaimie


Jaimie Baron, Ph.D.
Assistant Professor of Film Studies
The University of Alberta

Director
The Festival of (In)appropriation
http://festivalofinappropriation.org/

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Re: [Frameworks] Destructive Film Practices pre-1962

[Beebe,Roger W]

Raphael Montañez Ortiz's films are pretty destructive found-footage afairs.  
Golf uses hole punches.  Cowboy and 'Indian' Film and Newsreel subject 
found footage to random recutting with a tomahawk (per Ortiz's description, 
although one suspects a proper splicer was used).  All those films date from 
the late 1950s.

...
Roger Beebe
Berlin (for now)

On Jun 5, 2012, at 6:39 PM, Madison Brookshire wrote:

 Fellow Frameworkers,
 
 Does anyone have suggestions for films 1945-1962 that create film
 imagery in a destructive way? e.g. scratching, bleaching, hole
 punching, etc.
 
 I am thinking of works such as Isadore Isou's Venom and Eternity
 (1951), less of Len Lye's Free Radicals (1958).
 
 Suggestions of works later than '62, up to say 1966 are also welcome
 [i.e. Carolee Schneemann Fuses (1965)]
 
 Thank you in advance,
 Madison Brookshire
 Los Angeles
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Re: [Frameworks] books on alternative/diy film distribution

[Beebe,Roger W]

There's a wonderful, as-yet unavailable collection edited by Andrea Grover and 
Ed Halter called The Microcinema Primer that'd be just what you're looking for. 
 I know they're trying to figure out a way to make this available in relatively 
short order, so hopefully there'll be news before long about precisely how 
that'll be.

(I have one of the 50 exemplars they made to satisfy a grant.  It's really a 
great resource, covering a wide range of DIY practices.)

...
R.

On Apr 29, 2012, at 2:15 PM, matt's frameworks address wrote:

hello Frameworkers,

Wondering if anyone has any recommendations on good books or articles about 
alternative film distribution.  I know there are a number of texts out there 
focusing on self distribution of independent features, but I am hoping to find 
something that addresses experimental, short, and other sorts of films, and 
addresses things such as film festivals, micro-cinemas, and the like... truly 
DIY distribution for the filmmakers working far from the mainstream system.

thanks!

-Matt

--
---
www.rodeofilmco.comhttp://www.rodeofilmco.com/
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[Frameworks] 16mm film/Pasadena

[Beebe,Roger W]

Los Angeles-area Frameworkers,

A friend just alerted me to an auction of 3 pallets of 16mm films that ends in 
10 days.  Current bid is $1.  (Yes, really!)  They're available for pick up 
only (in Pasadena).  If anyone's interested, here's the full info:

http://www.publicsurplus.com/sms/auction/view?auc=705814

Good luck,
Roger
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Re: [Frameworks] Ektachrome RIP????

[Beebe,Roger W]

Does Fuji make Velvia in super 8?  I'm supposed to be headed to Berlin in May 
with a bunch of students to make super 8 films for 5 weeks, and it's going to 
be a big bummer if all we have to shoot on by then is Tri-X.  (Or will we even 
have that?)

Is Velvia an E-6 process?  I'd like to be able to hand process the stuff--just 
finally learned how to hand-process Ekta last summer.

This is really bumming me out.
Roger



On Mar 1, 2012, at 8:34 PM, 40 Frames wrote:


Oops, that's s8. I thought Spectra carried Velvia in 16mm, but perhaps not.

Alain


On Thu, Mar 1, 2012 at 5:32 PM, 40 Frames 
i...@40frames.orgmailto:i...@40frames.org wrote:

Spectra sells Fuji's Velvia (50D).
http://www.spectrafilmandvideo.com/Film.html

Might be able to get it direct from Fuji.

Alain



On Thu, Mar 1, 2012 at 5:28 PM, Mark Toscano 
fiddy...@yahoo.commailto:fiddy...@yahoo.com wrote:
This seems to confirm it, sort of:
http://www.thephoblographer.com/2012/03/01/did-kodak-just-discontinue-all-their-slide-films/

Also, this:
http://www.bjp-online.com/british-journal-of-photography/news/2156493/kodak-discontinues-colour-reversal-films

Can someone tell me what other 16mm color reversal stocks exist out there?  
Either cut down custom by various labs/suppliers, or produced as 16mm by 
rawstock companies?  Just want to know what my options are, if any.

Mark T



From: 40 Frames i...@40frames.orgmailto:i...@40frames.org
To: Mark Toscano fiddy...@yahoo.commailto:fiddy...@yahoo.com; Experimental 
Film Discussion List 
frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com
Sent: Thursday, March 1, 2012 5:21 PM
Subject: Re: [Frameworks] Ektachrome RIP


Hm, it's not on the Feb 2012 discontinued list.

Alain



On Thu, Mar 1, 2012 at 4:52 PM, Mark Toscano 
fiddy...@yahoo.commailto:fiddy...@yahoo.com wrote:
You've gotta be kidding.

Thanks for this heads-up goes to Timoleon Wilkins:

http://www.democratandchronicle.com/article/20120301/BUSINESS/303010043

Mark T


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Alain LeTourneau
Pam Minty

40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA

+1 503 231 6548tel:%2B1%20503%20231%206548
www.40frames.orghttp://www.40frames.org/
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40 FRAMES
Alain LeTourneau
Pam Minty

40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA

+1 503 231 6548tel:%2B1%20503%20231%206548
www.40frames.orghttp://www.40frames.org/
www.16mmdirectory.orghttp://www.16mmdirectory.org/
www.emptyquarterfilm.orghttp://www.emptyquarterfilm.org/




--
40 FRAMES
Alain LeTourneau
Pam Minty

40 FRAMES
5232 North Williams Avenue
Portland, Oregon 97217
USA

+1 503 231 6548
www.40frames.orghttp://www.40frames.org/
www.16mmdirectory.orghttp://www.16mmdirectory.org/
www.emptyquarterfilm.orghttp://www.emptyquarterfilm.org/

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