Re: [Frameworks] Book

[Elizabeth McMahon]

Congratulations, Jonathan! Brava!

Elizabeth McMahon

On Tue, Jul 7, 2020 at 9:44 AM Jonathan Walley  wrote:

> Dear Frameworkers,
>
> I am pleased to announce the publication of my book, *Cinema Expanded:
> Avant-Garde Film in the Age of Intermedia*, from Oxford University Press:
>
>
> https://global.oup.com/academic/product/cinema-expanded-9780190938642?lang=en=us
>
> This very long book benefited substantially from discussions and debates
> on this very forum over many years, as well as from information, ideas,
> materials, time, and energy from many of this lists members. It makes a
> very “cine-centric” argument about expanded cinema, placing it primarily in
> the context of avant-garde/experimental film culture.
>
> I’m not fishing for compliments or congratulations (nor complaints), just
> passing along information to any interested parties. I highly recommend the
> e-book version, in which the images (over 270 of them) are reproduced in
> color (they are BW in print) and enlargeable.
>
> I’m especially excited that this book has been released in the same year
> as the 50th anniversary edition of Gene Youngblood’s *Expanded Cinema*.
> While my account differs from Gene’s, it is certainly in dialogue with that
> landmark book.
>
> I beg your forgiveness for this brief eruption of self-aggrandizement.
>
> All best wishes,
> Jonathan
>
>
> Dr. Jonathan Walley
> Associate Professor
> Department of Cinema
> Denison University
> https://denison.edu/people/jonathan-walley
>
>
>
>
> ___
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>
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Re: [Frameworks] Expanded Cinema 50

[Elizabeth McMahon]

Congratulations, Gene! Your essential book has informed and inspired
countless!

Elizabeth McMahon

On Wednesday, February 5, 2020, Gene Youngblood  wrote:

> Colleagues,
>
> You might like to know that a 50th Aniversary Edition of my book Expanded
> Cinema (1970) will be published next month by Fordham University Press
> (NYC). It’s been out of print in English for 43 years, during which it has
> come to be recognized as a classic. Fordham’s flyer for the book is
> attached. Comments about it about it are in this 30-minute video, currently
> on Fordham’s home page: https://www.fordhampress.com/
>
>
>
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Re: [Frameworks] suggestions on travelogue and/or road films by women filmmakers?

[Elizabeth McMahon]

Ross McElwee's "travelogue" SHERMAN'S MARCH, certainly must be included.

Elizabeth McMahon

On Saturday, October 19, 2019, Scott MacDonald 
wrote:

> Hey Kornelia,
>
> Nina Davenport's *Parallel Lines *(2004)
> Véréna Paravel *7 Queens *(2008)
> Ellen Spiro *Greetings from Out Here* (1993) and *Roam Sweet Home* (1997)
>
> Scott
>
> On Fri, Oct 18, 2019 at 10:58 PM Kornelia Boczkowska <
> kornelia.boczkow...@gmail.com> wrote:
>
>> Hi all,
>>
>> I'm looking for travelogue and/or road films made by women filmmakers in
>> connection with my postdoctoral project on avant-garde and experimental
>> film (no UMO-2018/31/D/HS2/01553).
>>
>> So far I've been able to track down several works, incl. those mentioned
>> in response to Bryan Konefsky's question on experimental road movies, but
>> I'm sure there are many more that I'm not aware of. Any thoughts? I'd be
>> grateful for any suggestions, also on films that embrace non-mechanical
>> means of transportation and revision the concept of mobility - as implied
>> by the broad definition of the aforementioned genres. I'm pasting some
>> exemplary titles below to give you an idea what I'm looking for.
>>
>> Thanks and all best,
>>
>> Kornelia
>>
>>
>>
>> Portland (1996) by Greta Snider
>>
>> You and I Remain (2015) by Kate McCabe
>>
>> On The Line (2010) by Cathy Lee Crane
>>
>> Cayuga Run (1967) and September Express (1973) by Storm De Hirsch
>>
>> Light Years (1987) by Gunvor Nelson
>>
>> Roundtrip (2013) by Caroline Blai
>>
>> The Spaces Between Cities (2015) by Salise Hughes
>>
>> Flower Fields (1974) and Secrets from the Street: No Disclosure (1980) by
>> Martha Rosler
>>
>> Rules of the Road (1993) by Su Friedrich
>>
>> There? Where? (1979) by Babette Mangolte
>>
>> --
>> Kornelia Boczkowska, Ph.D.
>> Department of Studies in Culture
>> Faculty of English
>> Adam Mickiewicz University in 
>> Poznańhttp://wa.amu.edu.pl/wa/boczkowska_korneliahttps://orcid.org/-0003-0875-9209
>>
>> ___
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>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>
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Re: [Frameworks] ? request email

[Elizabeth McMahon]

Cindy, you didn't attach anything to evaluate.

Can you try again?

On Saturday, August 10, 2019, C Keefer  wrote:

> i keep getting this request email
>
> do I need to do something?
>
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[Frameworks] Fwd: [AMIA-L] Seeking Bolex Footage Shot From 1916 - 2018

[Elizabeth McMahon]

Dear Frameworks,

Heads up on this request made on the AMIA (Association of Moving Image
Archivists) listserv. If you care to respond, you can register here:

https://amianet.org/engage/amia-l-listserv/

Best,

Elizabeth McMahon

-- Forwarded message --
From: *JohnMark Triplett* <johnmark.tripl...@gmail.com>
Date: Tuesday, May 8, 2018
Subject: [AMIA-L] Seeking Bolex Footage Shot From 1916 - 2018
To: ami...@lsv.uky.edu


Hi all,

We are looking for footage shot on the Bolex from 1927- 2018. We know the
camera of use is not often listed with the footage but we hope that you may
have some leads on where we can find film specifically shot on the
Bolex. We are in post-production on a feature documentary about the
inventor of the Bolex motion picture camera which is directed by his
great-granddaughter. Within it we are including a montage with footage
starting with the inventor testing his first Bolex model in 1927 through
footage of others using various models of the Bolex all the way until 2018.
We are looking for films shot over the decades to show the passage of time
and what the camera has seen and what it meant to people.

For example from well known important moments in history such as footage
displaying the civil rights movement,  Kennedy assassination, Vietnam War
protest, Berlin Wall falling to every day life and home movies or
experimentation with the camera. Any footage of icons using the Bolex,
early red carpet film premieres caught on Bolex? We are looking for
anything from stop-motion, music video footage, outtakes, travel films,
behind the scenes footage from movie sets. Anything from a park bench in
Central Park, to a baby's first steps, to a rocket launch, to a sunset on
Lake Erie. Bonus if there is any behind the scenes footage of people using
the Bolex where you can see the Bolex in the users hands. A lot of these
examples are US based, but we certainly would plan to incorporate footage
from all around the world.

Overall, this camera unites almost 100 years of filmmakers, amateurs,
artists and everyday people and we'd like to incorporate life through their
lenses. We are indie and can't pay transfer costs and are looking for
material already transferred to digital. The project is an intersection of
a film pioneer inventing for the future intersecting with a modern digital
era filmmaker trying to make sense of the past. Please contact JohnMark at
johnmark.tripl...@gmail.com with any leads! Thank you!

-- 
*JohnMark Triplett*
writer/producer/director
phone:  818-314-1388
email:  johnmark.tripl...@gmail.com
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Re: [Frameworks] Labor Movement films?

[Elizabeth McMahon]

Cathy's excellent suggestion reminded me of Lynne Sachs and Lizzie
Olesker's transfixing documentary, "The Washing Society."
http://www.lynnesachs.com/2017/08/23/the-washing-society/

On a similar theme, there is Roberta Cantow's "Clotheslines."
http://www.folkstreams.net/film-detail.php?id=307

Elizabeth McMahon

On Tuesday, April 17, 2018, Cathy Crane <ccr...@ithaca.edu> wrote:

> In 2011, Harun Farocki and Antje Ehmann initiated the most important
> project to document labour of the 21st Century. It continues to add new
> material by encouraging the participation of and proposals from independent
> curators to conduct similar workshops in their own cities.
>
> http://www.labour-in-a-single-shot.net/en/films/
> --
> *From:* FrameWorks <frameworks-boun...@jonasmekasfilms.com> on behalf of
> Cecilia Dougherty <cecilia.doughe...@gmail.com>
> *Sent:* Saturday, April 14, 2018 8:22:04 AM
> *To:* Experimental Film Discussion List
> *Subject:* Re: [Frameworks] Labor Movement films?
>
> Salt of the Earth, 1954
> Harlan County, 1976
> I AM Somebody, 1969
>
>
> On Sun, Apr 8, 2018 at 3:23 PM, Brandon Walley <brand...@gmail.com> wrote:
>
> Looking for experimental, nonfiction, feature or shorts that deal with the
> works right, labor unions or related for a May Day screening. Suggestions?
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> <https://na01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman-mail5.webfaction.com%2Flistinfo%2Fframeworks=02%7C01%7Cccrane%40ithaca.edu%7C36b2341b1d14410482db08d5a20267c8%7Cfa1ac8f65e5448579f0b4aa422c09689%7C0%7C0%7C636593053620758350=N7MHLV%2Bd9mr%2B5oTQsVeKtqmNUo7VD1FBp8l2PnWDtwg%3D=0>
>
>
>
>
> --
> *Say one thing and meme another*
>
> Cecilia Dougherty
> http://www.ceciliadougherty.com
> <https://na01.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.ceciliadougherty.com=02%7C01%7Cccrane%40ithaca.edu%7C36b2341b1d14410482db08d5a20267c8%7Cfa1ac8f65e5448579f0b4aa422c09689%7C0%7C0%7C636593053620758350=GKBudKDO6BVep02DGSG4j6lJblJjAgZQjgj9DndvyhU%3D=0>
> http://inbetweentheories.com
> <https://na01.safelinks.protection.outlook.com/?url=http%3A%2F%2Finbetweentheories.com=02%7C01%7Cccrane%40ithaca.edu%7C36b2341b1d14410482db08d5a20267c8%7Cfa1ac8f65e5448579f0b4aa422c09689%7C0%7C0%7C636593053620758350=PkHtmJVruWOfVmbGSQwEFCgkIO9j9FcQUkLblxNPTCk%3D=0>
>
>
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Re: [Frameworks] Labor Movement films?

[Elizabeth McMahon]

I think my suggestions from yesterday got bounced (my account was disabled
due to too many bounces), so I'm adding them again.

They are both film/videographies from UC Berkeley:

http://www.lib.berkeley.edu/MRC/LaborVid.html

http://www.lib.berkeley.edu/MRC/labormovies.html

Elizabeth


On Monday, April 9, 2018, Michael Streicher Metzger <
michael.metz...@northwestern.edu> wrote:

> John Hanson and Rob Nilsson’s NORTHERN LIGHTS is a gorgeous piece of
> American independent filmmaking about agricultural labor struggles.
>
>
>
> *From: *FrameWorks  on behalf of
> Brandon Walley 
> *Reply-To: *Experimental Film Discussion List  com>
> *Date: *Sunday, April 8, 2018 at 2:23 PM
> *To: *Experimental Film Discussion List 
> *Subject: *[Frameworks] Labor Movement films?
>
>
>
> Looking for experimental, nonfiction, feature or shorts that deal with the
> works right, labor unions or related for a May Day screening. Suggestions?
>
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Re: [Frameworks] Labor Movement films?

[Elizabeth McMahon]

Here's some film/videographies from UC Berkeley:

http://www.lib.berkeley.edu/MRC/LaborVid.html

http://www.lib.berkeley.edu/MRC/labormovies.html

Elizabeth McMahon




On Sunday, April 8, 2018, Brandon Walley <brand...@gmail.com> wrote:

> Looking for experimental, nonfiction, feature or shorts that deal with the
> works right, labor unions or related for a May Day screening. Suggestions?
>
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Re: [Frameworks] New Oskar Fischinger DVD from CVM!

[Elizabeth McMahon]

Hi Cindy,

To be clear, the institutional price does NOT include public performance
rights, where no admission is charged?

Thanks,

Elizabeth McMahon

On Saturday, January 13, 2018, C Keefer <keef...@gmail.com> wrote:

> Center for Visual Music is pleased to announced the release of a new DVD
>
> *Oskar Fischinger: Visual Music*
>
> Classic and rare films by the "Father of Visual Music"
>
> Featuring Fischinger's famous *Composition in Blue*, *Muratti greift ein*
> (ad film), *Study no. 8*, *Study no. 5 and Study no. 2* from his
> groundbreaking series of abstract animation synchronized to music in the
> 1930s, which screened in first run theatres worldwide. Several of these are
> among the first music videos. Plus the films *Squares, An American March,
> Pierrette I, Coloratura, Swiss Trip (Rivers and Landscapes)*, newly
> restored animation tests from the 1920s, 30s and 40s (many never completed
> or released), plus home movies from the 1920 and 1960s. The bonus features
> animation tests include some early Gasparcolor experiments.
>
> Private home use, $30.
> Institutional price, $200 for classroom and library use.
> No rights for theatrical or public screenings are included with purchase.
> Streaming not available at this time, though a few selected films may be
> available later this year.
> DVD, NTSC, Region-free.
> ISBN #978-0-9764320-7-4
> Includes a Booklet with a Biography and film preservation credits.
>
> Films and DVD (c) Center for Visual Music, 2017
> *http://www.centerforvisualmusic.org/Fischinger/newdvd.htm
> <http://www.centerforvisualmusic.org/Fischinger/newdvd.htm>*
>
> *DVD TRAILER: https://vimeo.com/250034697 <https://vimeo.com/250034697>*
>
> *ORDER info and Full Title Info*:*
> http://www.centerforvisualmusic.org/Fischinger/newdvd.htm
> <http://www.centerforvisualmusic.org/Fischinger/newdvd.htm>*
>
> *More about Oskar Fischinger: *
> www.centerforvisualmusic.org/Fischinger/OFBio.htm
>
> To order the first Oskar Fischinger DVD, *Oskar Fischinger: Ten Films*
> (2006 release), please visit
> http://www.centerforvisualmusic.org/DVD.htm
>
> Or contact us to order both DVDs together.
> CVM thanks our DVD sponsor, Govett-Brewster Art Gallery/Len Lye Centre,
> and others who supported the production. Thanks to the National Film
> Preservation Foundation for their support for the restoration of some of
> the films on the DVD.
>
> For further information, or to order via paypal or another system, please
> contact CVM at *cvmaccess (at) gmail.com <http://gmail.com>*
>
> <http://gmail.com>In Japan, the DVD may be ordered through Meditations
> (Kyoto). The DVD will be available soon at the shop of the Len Lye Centre,
> New Zealand.
>
> Center for Visual Music
> PO Box 39527
> Los Angeles, CA 90039
> www.centerforvisualmusic.org
>
> *For more about Oskar Fischinger:*  www.centerforvisualmusic.org/
> Fischinger
>
> To purchase the first Oskar Fischinger: Ten Films DVD (2006 release),
> visit
> http://www.centerforvisualmusic.org/DVD.htm
>
> best regards,
> Cindy Keefer
> Center for Visual Music
> Please respond to the CVM email, cvmaccess (at) gmail.com
>
>
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Re: [Frameworks] Eclair ACL Repair in California

[Elizabeth McMahon]

Dear B,

I have no idea if this will help, but you could try this Services and
Suppliers directory.
http://www.amianet.org/node/1244/

This you can subscribe to (pricey!), or find at a central public library:
http://books.infotoday.com/directories/Audio-Visual-Market-Place.shtml

They might have suggestions for you:
http://www.mpenyc.com/contact/

And in the greater LA area:
http://variety411.com/us/los-angeles/

Always remember to try your local reference library for guidance!

Best,
Elizabeth McMahon

On Wednesday, November 22, 2017, b cor <mae...@gmail.com> wrote:

> hey all -
>
> i'm looking for a place to get my Eclair ACL 2.0 repaired and maintained
> in California or nearby.
>
> From information I found online, it seems like there's a place in New
> York, but it would be quite expensive to ship the whole camera out there so
> I'm looking for something thats a bit more local (nearby states could work
> as well).
>
> The camera is operational, just needs some repairs to the viewfinder and
> overall touch up and optimizing.
>
> Please send any leads or suggestions!
>
> Thanks,
> B
>
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Re: [Frameworks] experimental/feminist films with a woman's voice-over narration?

[Elizabeth McMahon]

Midge MacKenzie's "I Stand Here Ironing"

https://catalog.nypl.org/search~S1?/XI+stand+here+ironing=1=D/XI+stand+here+ironing=1=D=I+stand+here+ironing/1%2C11%2C11%2CB/frameset=XI+stand+here+ironing=1=D&2%2C2%2C

and "Clotheslines" by Roberta Cantow.

https://catalog.nypl.org/search~S1?/XClotheslines=1=DZ/XClotheslines=1=DZ=0=Clotheslines/1%2C19%2C19%2CB/frameset=XClotheslines=1=DZ&1%2C1%2C

Elizabeth McMahon

On Thursday, November 2, 2017, Ben Ogrodnik <ben.ogrod...@gmail.com> wrote:

> Hi all,
>
> I am requesting some film suggestions for a list of experimental,
> independent, and/or feminist-leaning films that contain a woman -- or
> multiple women -- providing voice-over narration to the images.
>
> The works can be from any era, in any format: documentary, animation,
> fiction, found-footage, anthropological, installation-based, etc.
>
> Some well-known examples of this tradition would be: Laura Mulvey and
> Peter Wollen's *Riddles of the Sphinx*, 1977; Michelle Citron's *Daughter
> Rite*, 1978; or Su Friedrich's *Sink or Swim*, 1990.
>
> Any examples of woman-voiced films that may be lesser known, or made
> outside EuroAmerican settings, would be greatly appreciated as well!
>
> Thanks so much.
>
> Sincerely,
> Ben
>
> --
> Ben Ogrodnik
> Department of Film Studies // History of Art and Architecture
> University of Pittsburgh
>
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Re: [Frameworks] Sharing films online/website?

[Elizabeth McMahon]

Hi Robert,

Yours are not just existential but very pragmatic concerns. This, a panel
recording from 2014's NYFF on preservation "in transition," may both soothe
and at once deepen those worries that render many nights sleepless ones. In
addition to this, you'll find a plethora of talks posted on this subject,
as well as articles. Seems also it's time for you to take a trip to the
library 

https://m.youtube.com/watch?v=xXMp7KbKpU8

Also, this would be an ideal topic to broach on the AMIA listserv.

Best,

Elizabeth McMahon

On Friday, July 21, 2017, Robert Withers <withe...@earthlink.net> wrote:

> Hello friends,
> I want to update my website which is woefully out of date. Meanwhile I've
> posted lots of films on vimeo.com/robertwithers, which I think may
> survive me. (It's free and you can still see films by the late Standish
> Lawder https://vimeo.com/97694242 on vimeo though I don't know if he ever
> had a page.)
>
> What do filmmakers do? Your own perishable web page with films on it, your
> own web page with links to vimeo, just vimeo?
> Thanks for any thoughts, public or private.
>
> Robert
>
> WithersWorks.com
> New York, NY 10024
>
>
> On Jul 21, 2017, at 8:00 AM, frameworks-requ...@jonasmekasfilms.com
> <javascript:_e(%7B%7D,'cvml','frameworks-requ...@jonasmekasfilms.com');>
> wrote:
>
> Send FrameWorks mailing list submissions to
> frameworks@jonasmekasfilms.com
> <javascript:_e(%7B%7D,'cvml','frameworks@jonasmekasfilms.com');>
>
> To subscribe or unsubscribe via the World Wide Web, visit
> https://mailman-mail5.webfaction.com/listinfo/frameworks
> or, via email, send a message with subject or body 'help' to
> frameworks-requ...@jonasmekasfilms.com
> <javascript:_e(%7B%7D,'cvml','frameworks-requ...@jonasmekasfilms.com');>
>
> You can reach the person managing the list at
> frameworks-ow...@jonasmekasfilms.com
> <javascript:_e(%7B%7D,'cvml','frameworks-ow...@jonasmekasfilms.com');>
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of FrameWorks digest..."
> Today's Topics:
>
>   1. bus stops (Green, Ron Green)
>   2. Southern Colorado Film Festival (eric stewart)
>
> *From: *"Green, Ron Green" <green...@osu.edu
> <javascript:_e(%7B%7D,'cvml','green...@osu.edu');>>
> *Subject: **[Frameworks] bus stops*
> *Date: *July 20, 2017 9:43:12 AM EDT
> *To: *"frameworks@jonasmekasfilms.com
> <javascript:_e(%7B%7D,'cvml','frameworks@jonasmekasfilms.com');>" <
> frameworks@jonasmekasfilms.com
> <javascript:_e(%7B%7D,'cvml','frameworks@jonasmekasfilms.com');>>
>
>
> There's a really beautiful use of bus stops throughout the early part of
> TREELESS MOUNTAIN by So Yong Kim. It's on Fandor.
>
> The opening scenes of BICYCLE THIEVES come to mind.
>
> Ron Green
> 356 W 7th Ave
> Columbus OH 43201
> 614.421.2131
>
>
> J. Ronald Green
> Professor Emeritus of Film Studies
> Department of History of Art
> The Ohio State University
>
> 
>
>
>
>
> *From: *eric stewart <e.l.j.stew...@gmail.com
> <javascript:_e(%7B%7D,'cvml','e.l.j.stew...@gmail.com');>>
> *Subject: **[Frameworks] Southern Colorado Film Festival*
> *Date: *July 20, 2017 11:28:43 AM EDT
> *To: *Experimental Film Discussion List <frameworks@jonasmekasfilms.com
> <javascript:_e(%7B%7D,'cvml','frameworks@jonasmekasfilms.com');>>
>
>
> Hey Frameworkers,
>
> The early bird deadline for the Southern Colorado Film Festival is coming
> up soon.  Please consider submitting here:
> https://filmfreeway.com/festival/SoCoFilmFestival
>
> The festival is experimental friendly and has discounts for Colorado and
> youth filmmakers (ask me for a code) AND more importantly its super
> awesome.  The festival takes place in Alamosa along the Rio Grande in the
> beautiful San Luis Valley.  Hot Springs abound, so do UFO watchtowers and
> alligator farms.  Sound enticing! I thought so, submit!
>
> thanks,
>
> -Eric Stewart
>
>
> ___
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>
>
>
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Re: [Frameworks] recent dance films from NYC

[Elizabeth McMahon]

Did you try contacting Dance Films Association, which runs the annual Dance
On Film Festival at Lincoln Center? There's other dance film festivals as
well.

In addition, you could contact the Jerome Robbins Dance Division at Lincoln
Center Library For The Performing Arts? http://www.dancefilms.org

Best,

Elizabethzabeth McMahon

On Sunday, June 4, 2017, Adam Sekuler  wrote:

> Hello friends,
>
> I'm in search of some recent (past 3 years) experimental dance films that
> originate from New York filmmakers and/or choreographers.
>
> Many thanks!
> Adam
>
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Re: [Frameworks] mental problems

[Elizabeth McMahon]

Gene,

Don't forget Bob Rafelson's "Head"! Or Billy Wilder's "The Lost Weekend, or
John Korty's  "Go Ask Alice." There's also Uli Edel's "Christian F."

On Wednesday, March 22, 2017, Gene Youngblood  wrote:

> Thanks, Pip. It’s for rent on Amazon, so I’ll take a look.
>
> And THANKS TO EVERYONE for your responses to my query.
>
>
> On March 22, 2017 at 9:31:16 PM, Pip Chodorov (framewo...@re-voir.com
> ) wrote:
>
> Gene,
> Concerning acid trips, Gaspar Noé asked my advice
> when he was developing his film "Enter the Void."
> We are both huge fans of Kubrick's 2001 as well
> as of abstract psychedlic films such as by Jordan
> Belson and the Whitney brothers. He is also a
> neighbor in Paris.
> He asked me what films he should watch to get
> ideas of how to represent a drug trip, and
> because he already saw all the films I suggested,
> his research had consisted in taking various
> quantities of interesting drugs.
> I think he succeeded in representing the trip
> visually as abstract patterns filling the screen.
> The film is shown strictly in 1st person POV of
> the main character (we even stare into his eyes
> as he looks in the mirror, while his eyeblinks
> are represented as periodic black flickers), and
> the drug trip clouds that vision.
> Incidentally there is a structural similarity
> with 2001 in his film, as the character spends
> the second half of the film in space-limbo, and
> the journey ends with a psychedelic trip through
> a uterus to end in an explosion and a fetus...
> -Pip
>
>
>
> At 10:41 -0600 22/03/17, Gene Youngblood wrote:
> >Friends, I¹m seeking recommendations of feature
> >films with scenes that attempt to visualize
> >inner states of mind such as breakdowns
> >(Vertigo), nightmares (Spellbound), acid trips
> >(Easy Rider) or any other kind of hallucination
> >(Altered States). Ecstatic or horrific doesn¹t
> >matter. Thanks.
> ___
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> 
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
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Re: [Frameworks] mental problems

[Elizabeth McMahon]

Polanski's "Repulsion." Alan Parker's "Birdy." Adrian Lynne's "Jacob's
Ladder."


On Wednesday, March 22, 2017, Gene Youngblood  wrote:

> Friends, I’m seeking recommendations of feature films with scenes that
> attempt to visualize inner states of mind such as breakdowns (Vertigo),
> nightmares (Spellbound), acid trips (Easy Rider) or any other kind of
> hallucination (Altered States). Ecstatic or horrific doesn’t matter. Thanks.
>
>
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Re: [Frameworks] Remembering Cecile again

[Elizabeth McMahon]

Thank you, Pip.

I loved her very much. Cecile was an indefatigable champion of experimental
and avant garde film, up to her last breath.  One of a kind, a true,
unadulterated iconoclast. I was fortunate enough to do seven years of
Master Class Meet the Makers programs with her at NYPL's Donnell Media
Center. Those programs are among my most memorable  and treasured of my
many  years there.

Best,
Elizabeth McMahon

On Friday, December 9, 2016, Pip Chodorov <framewo...@re-voir.com> wrote:

> December 9th, 2016
> A round of memorial emails went out two years ago, but I have been
> thinking about her today and wanted to remember a tireless advocate for our
> favorite films and filmmakers at a time when nobody cared about them.
> Cecile Starr died on December 9th, 2014.
> - Pip Chodorov
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Re: [Frameworks] Gottheim's "Your Television Traveler"

[Elizabeth McMahon]

Did you ask Larry himself?

Elizabeth McMahon

On Monday, August 29, 2016, Steve Polta <steve.po...@gmail.com> wrote:

> I'm seeking writing on Larry Gottheim's 1991 film *Your Television
> Traveler*.
> This writing can be critical, descriptive, interprettive, whatever.
> This writing can be substantial or also very brief.
> I know there is a little cluster of words in FMC catalog on the film—I'm
> looking for more.
>
> Any leads?
>
> Thanks.
>
> Steve Polta
>
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[Frameworks] Sally Berger, film curator, fired at MoMA;

[Elizabeth McMahon]

Thanks, Stephanie, for posting this.

Sally began at MoMA in 1986.

I'd like to direct everyone to the drive by hit job on Sally that was in
the NYT two weeks ago. I'd provide the link, but haven't figured out how to
do that on this tablet.

If interested, please also send a letter of support for Sally to Rajendra
Roy, chief film curator, and Glenn Lowry, feckless MoMA leader.
rajendra_...@moma.org
<javascript:_e(%7B%7D,'cvml','rajendra_...@moma.org');> and
glenn_lo...@moma.org <javascript:_e(%7B%7D,'cvml','glenn_lo...@moma.org');>
Be sure to cc Sally at sallyjber...@earthlink.net
<javascript:_e(%7B%7D,'cvml','sallyjber...@earthlink.net');>

Best,


Elizabeth McMahon

On Sunday, June 19, 2016, Stephanie Vevers <svev...@gmail.com
<javascript:_e(%7B%7D,'cvml','svev...@gmail.com');>> wrote:

> Greetings to all.
>
> Many of you have experienced the strong venue for independent film &
> documentary, including experimental work, that curator Sally Berger has
> created at MoMA, and the programming, films, and artists/filmmakers, that
> she has championed for more than 30 years.
> The response, in NYC and beyond, to this news of her being fired, has been
> shock and dismay, and expressions of support and recognition.
>
> The recent annual Documentary Fortnight (a series she directs, and
> co-founded in 2001) concluded with much buzz and energy to a full house,
> with a confounding, wry, and layered multimedia work by Ojibway artists, 
> "*INAATE/SE/
> [it shines a certain way. to a certain place./it flies. falls./*."
> https://moma.org/explore/inside_out/2016/02/17/doc-fortnight-2016-actions-of-the-past-shockwaves-in-the-present/
>
> Here is a link to (an easy to use) petition in support.
>
> http://www.thepetitionsite.com/357/409/943/letter-of-support-for-film-curator-sally-berger/?taf_id=26516401=fb_na
> Please consider adding your comments and your experience of Sally Berger
> and her work at MoMA, and if moved, share it widely.
>
> more info:  http://artforum.com/news/id=60728
>
> Sincerely,
> Stephanie Vevers
>
>
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Re: [Frameworks] GIUSEPPE'S BIRDS @ 2016 DOC OUTLOOK INTERNATIONAL MARKET VISIONS DU REEL

[Elizabeth McMahon]

Link for page "doesn't exist."


Elizabeth

On Sat, Apr 16, 2016 at 4:04 PM, Fabienne Gautier 
wrote:

> *GIUSEPPE'S BIRDS @ 2016 DOC OUTLOOK INTERNATIONAL MARKET*
> View this email in your browser
> 
>
> 
>
>  ‪
> *GIUSEPPE'S
> BIRDS *selected for the Media Library of theFilm Festival in Nyon,
>  Switzerland
>  www.visionsdureel.ch/media-film/film/show/giuseppes-bird
> 
>
> *Visions du Réel*
> *Festival International de cinéma Nyon*
> *DOC OUTLOOK INTERNATIONAL MARKET*
> Place du Marché 2, 1260 Nyon, Suisse
> T +41 22 365 22 62
>
>
>
>
>
>
>
>
> 
> [image: Twitter]
> 
> [image: Facebook]
> 
> [image: LinkedIn]
> 
> [image: Google Plus]
> 
> [image: Vimeo]
> 
> [image: Pinterest]
> 
> *Copyright © 2016,Fabienne Gautier All rights reserved.*
>
>
>
>
> * mailing address is:*
> gautier.fabie...@free.fr
>
> Want to change how you receive these emails?
> You can update your preferences
> 
> or unsubscribe from this list
> 
>
>
>
>
>
>
>
> This email was sent to frameworks@jonasmekasfilms.com
> *why did I get this?*
> 
> unsubscribe from this list
> 
> update subscription preferences
> 
> Fabienne Gautier · 13 rue calmels · Paris - · France
>
> [image: Email Marketing Powered by MailChimp]
> 
>
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Re: [Frameworks] Experimental Animated Documentaries

[Elizabeth McMahon]

I recommend many of the animated works by Emily Hubley, especial "Her
Grandmother's Gift" and "Fish/Girl." I would recommend calling Emily and
seeing if she could recommend any of her parents Faith and John Hubley's
animated films as well.

Anything animated by Philip Stapp for International Film Foundation would
definitely meet this criteria.
http://www.internationalfilmfoundation.org/films/  My personal favorite is
"Boundary Lines."

In addition, I would call the NFBC and ask for recommendations. Or, just
start by perusing their estimable catalog. https://www.nfb.ca/

Best,

Elizabeth

On Mon, Oct 26, 2015 at 9:00 AM, Andrew Connor 
wrote:

> Hi,
>
> I have a friend who is looking for experimental animated documentaries
> that follow non narrative structures, and animated documentaries which
> function as a critique of traditional documentary techniques.
>
> Any suggestions for her?
>
> Many thanks,
>
> Andy Connor
> 
>
> --
> [image: Avast logo] 
>
> This email has been checked for viruses by Avast antivirus software.
> www.avast.com 
>
>
> The University of Edinburgh is a charitable body, registered in
> Scotland, with registration number SC005336.
>
> ___
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>
>


-- 
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Re: [Frameworks] Tony Conrad's band 1993

[elizabeth mcmahon]

You could try calling Joe Rubino, the proprietor of Nietzsche's, who may have 
that info for you. It's on Allen Street, Buffalo.  
Elizabeth
  From: Jim Flannery 
 To: Experimental Film Discussion List  
 Sent: Monday, October 12, 2015 1:51 PM
 Subject: Re: [Frameworks] Tony Conrad's band 1993
   
Monday, October 12, 2015, 10:34:31 AM, one wrote:

> that was a good 20 years before. kids today!

And they did some performances together on the occasion of the
re-release of the album by Table of the Elements in 1993 (and again 10
and 20 years after that); they also toured together in 1994-95 (playing
separately, with Tony backed by members of Gastr del Sol). Either of
those configurations might be the one referred to here.

But yeah, Tony's at least nominally on this list (unless he's given it
up) so hopefully he can respond here for himself.

-- 
Best regards,
 Jim Flannery
 j...@newgrangemedia.com





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Re: [Frameworks] Chantal Akerman died/reception

[Elizabeth McMahon]

I cannot speak for Film maker's Cooperative or Canyon, but The New York
Public Library has a 16mm print of "Jeanne Dielman" for those who are close
by, or otherwise interested in seeing it on film. It was distributed at the
time of acquisition by New Yorker, so it did indeed have a stateside
distributor, and one with quite a distinguished reputation. If you are
interested in screening it on site, please call ahead to arrange the time.

Elizabeth McMahon

On Thu, Oct 8, 2015 at 9:41 PM, Chuck Kleinhans <chuck...@northwestern.edu>
wrote:

> I appreciate Gene Youngblood’s observations.  I would point out in
> addition some of the decisions Akerman made which shaped the reception of
> her work.
>
> First, and I think incredibly importantly, was her choice of Babette
> Mongolte to be her cinematographer on Jeanne Dielman.  Mongolte had already
> done the camerawork on Rainer’s Lives of Performers and Film About a Woman
> Who.  Seeing those works as connected by visual sensibility gives the works
> at least a second “authorship” in the cinematographer.
>
> Second, Jeanne Dielman arrived in 1975-6.  It was screened at some film
> centers and then the print left the country.  Yeet during its brief
> appearance it inspired almost all the emerging feminist film makers,
> critics, scholars, teachers, and intellectuals to rave about it.  And the
> writers wrote about it with a strong femiist analysis
>
> I think this was due to at least two factors, One was that feminist film
> criticism was looking for new work that escaped the Hollywood
> expectations.  Remember this is the exact moment when Laura Mulvey’s
> landmark essay on "Visual  Pleasure and Narrative CInema" hit the scene.
> Jeanne Dielman was the perfect film to see after or before reading
> Mulvey..  This was also the time of emerging feminist film festivals,
> feminist film courses in colleges and universities, feminist film
> programming  being a regular part of film center programming, etc.
>
> Second, there was at that time a certain momentum in the women’s movement
> for thinking anew about housework and domestic space.  In the UK one high
> profile group of feminists led a campaign for “Wages for
> Housework”—demanding recognition of women’s unpaid labor.  In N. America
> there was an active discussion of the “double day” and women working
> outside the home but also then being totally responsible for domestic
> chores, cleaning, child-rearing, etc.  So within the political wing of the
> women’s movement there was interest in this and Jeanne Dielman, although in
> one sense one of the “least likely” films to appeal to feminist activists
> unfamiliar with art film narrative in fact when they did get to see the
> film found it often intriguing and made them rethink what feminist film
> might be.
>
> But, as I said, that rare print disappeared from N. America and Akermann
> essentially rejected the genuine enthusiastic audience for her film and
> wasn’t interested in having it placed with some logical upstart feminist
> film distributors nor was she willing to deposit a copy with the NY Coop or
> Canyon, which would have at least kept it alive for those who wanted to
> show it.  I never heard the story from her side of why she made this
> decision.  The gossip I heard was that she had a very high opinion of
> herself and wanted to be treated as a Major European Film  Artist like
> Wenders or Fassbinder.  She was holding out for Big Time art film
> distribution in N. America.  And that never happened.
>
> There’s an excellent (if kind of lopsided by her enthusiasms) presentation
> of that Ackerman moment in Ruby Rich’s book Chick Flicks: Theories and
> Memories of the Feminist Film Movement.
>
> The point being that artists have some role to play in their own
> reputation/success and some decisions end up shaping their critical horizon
> and artistic capital.
>
>
>
>
>
>
>
>
>
> On Oct 6, 2015, at 1:26 PM, Gene Youngblood <ato...@comcast.net> wrote:
>
> Unless I’m mistaken, the American premiere of Jeanne Dielmann was at
> Filmex in 1976. That’s the Los Angeles International Film Exposition, which
> was the largest festival in the world at that time except for Cannes, which
> we considered to be a market, not a festival. I saw it twice, first on the
> selection committee, then at the festival, where it impressed me even more
> the second time. I met Chantal for lunch immediately after, somewhat
> disoriented that such a reserved, shy little person could have made this
> work of monumental intelligence and power. She was with Lloyd Cohn, whose
> fledgling company, World Artists (I think that’s the name), was the
> American distributor of the film. I met Lloyd ten years earlier when he was
> d

Re: [Frameworks] Millennium Film Workshop

[Elizabeth McMahon]

You had already said more than plenty.

Your cryptic "poem" is such a distraction for a general listserv. Send
stuff like this to the intended party and leave the public out of it. It is
just embarrassing, and garners you no good will.

Elizabeth McMahon

On Fri, Oct 2, 2015 at 7:26 PM, David Baker <dbak...@hvc.rr.com> wrote:

> Jay,
>
> Rare flowers that germinated in the dark
> in that moldy old  place
> will not come again.
> We will never be as free to play with all the potentialities
> of projected light as we were there then.
> Still it must go on.
>
> "Darkness  cannot drive out darkness,
> only light can do that."
>
> -Martin Luther KIng Jr.
>
> I will say no more on the subject.
>
> David
>
>
> On Oct 2, 2015, at 11:54 AM, Jay Hudson wrote:
>
> To Sasha,
>
> Your words are inappropriate, offensive, and abusive.  I will not tolerate
> it, and I demand that it stop.  If this type of conduct is against
> framework's terms of use, I ask Pip to remove Sasha from the list if this
> continues.  I have moved on and hold animosity towards no one.  There was
> no justification to bring me into it.
>
> To David,
>
> I think it is better to lower the tone on this because I think you are
> speaking from the heart and with good intentions.  It is better if you
> consider that the situation with the Millennium followed a very common and
> recognizable patterns in non-profits.  I made my decisions based on
> extensive research and speaking with non-profit experts, attorneys, and
> other professionals.  Every person that I spoke with was extremely direct
> and unambiguous in saying that there was a serious problem that had to be
> addressed immediately.  A few even said that there was no point in trying
> to correct it.  I did what I thought was best and responsible.
>
> Those of use working at MFW inherited a situation where the organization
> was more than $40K in debt with the landlord. Howard basically dropped out
> of sight when he got sick and I had to step in to put out fires with the
> landlord.   When the archive thing was going on, MFW was trying to
> negotiate a new lease.  We were being served with papers.  Almost
> everything in the way that MFW functioned was so dependent on one
> individual, that there were almost no established patterns to run things.
> Naturally when he was not doing so, things fall apart.  MFW was failing
> what is called the risk assessment test, where an organization can not
> function without a certain individual.  This is unhealthy to an
> organization, plus it makes it much more difficult to get funding.
>
> I prefer that this be the last of this thread of this communication.  What
> happened, happened.  These issues have no pertinence to today's events.
> There is no sense in unproductively dwelling on events that are
> unresolvable.  No one can be completely objective in this.
>
> It is much better to think about the current MFW for what it is.  Times
> and conditions have changed.  It will not be the old MFW, but I do think
> that it has an important role to play.  Additionally, I wish people
> wouldn't think so much about the MILLENNIUM, but more about what their own
> needs are as filmmakers and what gaps exist in today's current situation
> that MFW can fill.  I am optimistic about the current MFW and have nothing
> but full support and appreciation for those who are working hard or
> providing support.  I would hope that you and others who have negative
> opinions would reconsider, be open minded, and be involved.  If not, that's
> ok too, but I do not want to see every posting regarding MFW to be met with
> this kind of communication.
>
> Jay
>
>
>
>
> On Thu, Oct 1, 2015 at 10:02 PM, David Baker <dbak...@hvc.rr.com> wrote:
>
>> Jay,
>>
>> Because I, along with Margot Niederland  and Howard helped Lili White
>> to organize and move the vast archives to a safe warehouse
>> I know firsthand how perilous that moment was.
>> There was a porousness and scariness at Millennium then which I hope
>> never to encounter again.
>> It was like NIGHT OF THE LIVING DEAD
>> (Romero 1968 black and white version).
>> We had to work with the utmost speed and efficiency for fear
>> all would be lost in one scenario or another.
>> Again I will say it is my deeply considered opinion that had Lili not
>> initiated action
>> at the moment she did the fate of the archives would have been very
>> different.
>> There was no question amongst those working to preserve this material
>> of the stakes involved. We were simply not willing to leave it in your
>> hands.
>> Your relentless assassination of Howard's characte

Re: [Frameworks] monitor or projector in Brooklyn in November ?

[Elizabeth McMahon]

Hi,

Honestly, I don't know the equipment available here, but I am passing this
along nevertheless. It could be exactly what you're looking for! Even if
not, it is still good for people to know about.

BRIC Opens a New TV Studio at Coney Island Library

http://www.thelmagazine.com/2015/07/bric-opens-new-tv-studio-coney-island-library/

Best, Good Luck!

Elizabeth

On Thu, Oct 1, 2015 at 5:22 PM, Amanda Christie <
ama...@amandadawnchristie.ca> wrote:

> Hey folks!
>
> I'm going to be spending November in Brooklyn  editing a film, and I am
> bringing my own gear, and I have a studio lined up to work in... but... I
> don't have room in my car for my monitor  ( it was all shot on 35mm,
> but I'm editing digitally)
>
> Does anyone know if it would be possible to borrow or cheaply rent a
> monitor (or projector) in Brooklyn for the month of November so I can see
> what I'm doing?
> It would be so much easier if I didn't have to pack mine!
>
> I'll be editing using headphones too... so if anyone has speakers I could
> borrow, that would also be awesome... but not as vital as a monitor for me
> to see what I'm working on.
>
>
>
> Also... while I'm there... I would love to have a little viewing /
> feedback session if anyone is interested in seeing a rough cut and
> discussing.  I've been feeling rather isolated and like I'm working in a
> silo on this one for the last few years... feedback from peers would be
> great.  I've been working on this film for 6 years... it's my first feature
> length experimental doc Spectres of Shortwave... about radio towers...
>  there's an older 5 minute preview of it on my website that I made when I
> just started filming http://www.amandadawnchristie.ca/new-page-1/
> I'm hoping to finally finish the whole thing while I'm in Brooklyn.
>
> Anyhow... let me know if it's possible to find a monitor in Brooklyn, and
> also if anyone is interested in a little viewing/feedback session while I'm
> there.
>
> Looking forward to meeting some new folks and talking film!
>
>
> Amanda Dawn Christie
> 
> 506-871-2062
> www.amandadawnchristie.ca
> ama...@amandadawnchristie.ca
> ___
>
>
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>



-- 
Elizabeth
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Re: [Frameworks] Millennium Film Workshop

[Elizabeth McMahon]

"--there's not much to be gained from quarrelling with the mentally ill--"
WOW. This sets the benchmark for a new low. I appreciate why that youngster
fled Frameworks after 2 hours just a couple of days ago. Sasha, whoever
you, for shame on you. What a contemptible and offensive remark. If you
were at all involved in Millennium, I can see how might have helped steer
it towards its ruination. I am appalled.

Elizabeth McMahon

On Thu, Oct 1, 2015 at 6:41 PM, Sasha Janerus <sasha.jane...@gmail.com>
wrote:

> Yes, at this point MFW ought to be wound down. Still, it'd be good to know
> what happened and maybe hold some folks accountable, for some of the
> equipment to be placed with other non-profs, etc. For that you need a few
> people who between them can screw in a light bulb.
>
> I'm not about to read or respond to JHs comments--there's not much to be
> gained from quarrelling with the mentally ill-- but if they raise any
> specific questions or concerns among others on the list I can respond.
> --
> From: Jay Hudson <jkh30...@gmail.com>
> Sent: ‎10/‎1/‎2015 4:27 PM
> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>
> Subject: Re: [Frameworks] Millennium Film Workshop
>
> According to New York State law, in a membership nonprofit, the board has
> the right to add or remove board members at will, unless there is anything
> in the bylaws or the corporate charter that states otherwise.  Even in that
> case, if there is a justifiable reason, like proven embezzlement, or
> something like that, the board probably could get rid of the offending
> board member.  There is nothing wrong in the appointment of board members,
> with members approval or not.
>
> According to MFW bylaws, the president can call for an election at any
> time for a special purpose at their discretion.  Stephanie Wuertz could
> have made that decision at time.  I am not criticizing her because of
> Millennium's extenuating circumstances.  I also don't think that it is fair
> nor appropriate to bag on George, Lili, or the rest of the current board
> either.
>
> There has been a lot of stuff going on, but as far as I know, the board is
> working on getting the bylaws together, etc., so that when the time comes,
> the meeting will be able to go on smoothly.  I have trust in the current
> board, and would prefer that they can have the space to do their job.  If
> one has concerns, it is much better that they contact board members
> personally, rather than through public forums.
>
> David Baker's criticisms about the movement to reform MFW was predicated
> on "negating howard" and that there was no interest in the archive and
> completely false and oversimplified.  MFW had been in decline for many
> years.  The problems were not personal but structural.  The NYSCA grant
> went from $30,000 to $12,000, to $8,000.  There were considerable debts to
> the landlord, who were about to pull the plug.  NEA stopped funding MFW.
>
> When I spoke to the funders, they both said that MFW was suffering from
> severe and obvious "founder's syndrome," where one individual dominates the
> organization, and can not distinguish between their own affairs and the
> affairs of the organization.  MFW was in danger of imminent collapse.  If
> nobody had stepped in the following would have happened:  the landlord
> would have pulled the plug, the archive would have been hastily sold, the
> landlord would get that money, the equipment would have gathered by
> vultures, etc. It was in the best interest of all parties that something
> was done.
>
> Regarding the finances, all of that information should be available.  As
> for myself, the "undocumented income", that Sasha describes totals $22K,
> which includes 3K of debts from my works as a monitor, or 19K, basically
> 10K a year.  I can document that I worked an average of 15, 16 hour days
> for months on end, including thirty six hours clearing stuff from the
> theater and putting it in a dumpster.  I worked my ass off well past the
> point of exhaustion and payed and significant personal price for it.  If
> anyone has a problem with that, tough shit.  I have no complaints about it,
> nor any animosity towards anyone, but I am not going to take shit for it
> either.
>
> I have been away from MFW for two years and have moved on.  As tough as it
> was, it was a great experience for me.  I was thankful to have the
> opportunity.  I also am supportive of the current board.  I think that
> people should not think about how MFW was or how MFW should be, but how MFW
> is, what MFW can do and what they themselves can do to contribute.  If
> people want to be stuck on negative shit from the past, that is their
> pr

[Frameworks] IFC Center Plans To Add More Screens At 323 6th Avenue

[Elizabeth McMahon]

Some good news coming from NYC for cinephiles and hopefully filmmakers!

http://newyorkyimby.com/2015/08/ifc-center-plans-to-add-more-screens-at-323-6th-avenue.html

-- 
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Re: [Frameworks] quiet spot to edit in NYC

[Elizabeth McMahon]

Try here:
http://www.sheepsheadbites.com/2015/07/coney-island-library-celebrates-new-state-art-tv-studio/


Elizabeth McMahon

On Sun, Aug 16, 2015 at 2:12 PM, ev petrol epetr...@yahoo.com wrote:

 hey folks
 i'm looking for a quiet place to edit, from sept 5th - any leads welcome!!
 (working on my laptop  can bring table)
 cheers moira

 moiratierney.net
 vimeo.com/moiratierney

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[Frameworks] The Infinite Hollis Frampton: comprehensive exhibition and unprecedented sale of Frampton’s photography - See more at: http://www.buffalo.edu/atbuffalo/article-page-summer-2015.host.html/

[elizabeth mcmahon]

I'd like to draw Frameworker's attention to a new exhibit of both rarely and 
never seen materials of legendary experimental filmmaker Hollis Frampton at The 
University of Buffalo, where he taught for many years. Titled The Infinite 
Hollis Frampton, you can read the article about it here: 
http://www.buffalo.edu/atbuffalo/article-page-summer-2015.host.html/content/shared/www/atbuffalo/articles/summer-2015/features/hollis-frampton.detail.html
 Some photography will be available for purchase as well. 
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Re: [Frameworks] Kid-friendly films?

[Elizabeth McMahon]

Anything by Oskar Fischinger!

There is also a film that cracks me up, if you can find it. Sour Death
Balls, which was distributed by Carousel Films and Video. I just don't
know what happened to their holdings after the company went out of business.

Elizabeth McMahon

On Mon, Jul 13, 2015 at 12:01 AM, Dan Anderson bcfilmf...@gmail.com wrote:

 Hey all,

 Just wondering if anyone has recommendations for avant-garde films that go
 over well with kids (12 and up). I'm not very good with censorship and
 always forget that there is something  inappropriate with most of my
 favorite movies... even just a good PG narrative is hard to find..

 So far my go-to is usually Neighbours by McLaren, and Dr. Strangelove
 for a good narrative that won't get me in trouble..

 thanks!



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Re: [Frameworks] Kid-friendly films?

[elizabeth mcmahon]

Much from Mary Ellen Bute could be considered very kid friendly.
And one of my favorites is Bruno Bozzetto's film Allegro Non Troppo. It is 
rousing and inspiring, with magical animation.
Elizabeth
  From: Dan Anderson bcfilmf...@gmail.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
 Sent: Monday, July 13, 2015 12:01 AM
 Subject: [Frameworks] Kid-friendly films?
   
Hey all,
Just wondering if anyone has recommendations for avant-garde films that go over 
well with kids (12 and up). I'm not very good with censorship and always forget 
that there is something  inappropriate with most of my favorite movies... 
even just a good PG narrative is hard to find..
So far my go-to is usually Neighbours by McLaren, and Dr. Strangelove for a 
good narrative that won't get me in trouble..
thanks!


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Re: [Frameworks] countryside film

[elizabeth mcmahon]

It's more fantastical than experimental, but Heavenly Creatures seems to fit 
your bill.
And it should go without saying, Deliverance, though clearly not experimental 
in any overt way. A Clockwork Orange, too. I was thinking also, Viridiana.  
Elizabeth




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Re: [Frameworks] Response to Gene Youngblood

[Elizabeth McMahon]

Gene owes no apology. Presuming the need for one is what is rude, as is
your inability to edit your comment so it is just his and your remarks. I
could care less to seen the history of your digest that you've carelessly
(thoughtlessly?) allowed attached.

Elizabeth

On Tue, Mar 31, 2015 at 9:22 AM, Sasha Waters Freyer swfre...@vcu.edu
wrote:


 Mr. Youngblood,

 Clearly my rhetorical excesses with regards to Wavelength offended you.
 However, turning a critical disagreement over a 48-year-old film is no
 excuse to attack my ability as a teacher or to dictate my responsibility
 to my students. I will chalk this exchange up to your passion for Snow's
 work, and not an inherent rudeness of your character.  I accept your
 apology in advance.

 Yours,


 Sasha Waters Freyer


 On Tue, Mar 31, 2015 at 3:02 AM, frameworks-requ...@jonasmekasfilms.com
 wrote:

 Send FrameWorks mailing list submissions to
 frameworks@jonasmekasfilms.com

 To subscribe or unsubscribe via the World Wide Web, visit
 https://mailman-mail5.webfaction.com/listinfo/frameworks
 or, via email, send a message with subject or body 'help' to
 frameworks-requ...@jonasmekasfilms.com

 You can reach the person managing the list at
 frameworks-ow...@jonasmekasfilms.com

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

 Today's Topics:

1. Re: VSW - to your attention! (Bernard Roddy)
2. Looking to purchase a JK Optical Printer (Christopher Harris)
3. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (Bernard Roddy)
4. 3 sound works (Bernard Roddy)
5. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (direc...@lift.on.ca)
6. Re: VSW - to your attention! (Amanda Christie)
7. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (Kelly Gallagher)
8. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (Francisco Torres)
9. TONIGHT 3.30 7pm - Jonas Mekas 365 Day Project - Part 3 -
   March at Microscope, Mekas in person w. pizza and rootbeer
   (LBurchill)
   10. Re: 2. Re: What are the 3 Essential Films that you would show
   Artists on their first foray into the Moving Image Realm ?
   (George, Sherman)
   11. New photo essay posted to flickr (Emile Tobenfeld)
   12. ed Reflections of Life: American Indian and Indigenous
   filmmaker screening series this week at California Institute of
   the Arts. (Nate Cummings)


 -- Forwarded message --
 From: Bernard Roddy rodd...@yahoo.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Cc:
 Date: Mon, 30 Mar 2015 08:51:36 -0500
 Subject: Re: [Frameworks] VSW - to your attention!
 Squeaky Wheel in Buffalo.

 On Sun, Mar 29, 2015 at 3:30 PM, Amanda Christie 
 ama...@amandadawnchristie.ca wrote:

 Thanks for sharing Walter!

 I also have a question on a similar subject for the group.

 I'm going to be doing a radio-art residency in upstate new york next
 fall (late October), and I was thinking of driving down with a few 16mm
 projectors and a bunch of my prints... I thought it might be nice to set up
 a sort of mini-road-trip-style-film-tour while I'm in the region (either on
 my way to or from the residency).  I can do screenings, performances, and /
 or teach some workshops. In addition to films, I will also be travelling
 with theremins, radio gear, and basic electronics, so I could also teach
 workshops in those fields too if anyone is interested.  I'll definitely get
 in touch with Tara at VSW.


 Does anyone on the list have other recommendations of places or people
 to talk to?  I've never set anything like this up before, but I figure,
 that since I'll have a car, and films, and projectors... why not?

 Any suggestions of places or people to contact in the New York state or
 surrounding areas would be much appreciated.

 Thanks so much!


 Amanda Dawn Christie
 
 506-871-2062
 www.amandadawnchristie.ca
 ama...@amandadawnchristie.ca
 ___



 On 2015-03-29, at 3:56 PM, Walter Ungerer wrote:

  Dear Frameworkers,

 I’d like to draw your attention to the Visual Studies Workshop in
 Rochester, New York. It’s a study facility for film and photography. Last
 week I had a film showing there of my more recent work. First, I’d like to
 thank Tara Nelson for offering the venue to me to show my work. Quite
 wonderful. The facility has excellent projection and sound equipment and a
 large screen. Tara’s husband Gordon Nelson (audio engineer), and Tara’s
 assistant Ray Ray Mitrano (public relations) effectively completed the
 staff . I’ll 

[Frameworks] Fwd: Response off list

[Elizabeth McMahon]

Why does this woman insist on making things she made bad, worse? She is
being a human malaprop, and just does not get how tone deaf she is. Gene,
she's meshugganah, no one it seems clear is taking this seriously, but
still, you'd think she'd be humbled and learn a lesson, and this whole I'm
a young, privileged white woman who is having her feelings hurt bs is just
so tiring and so already exploited. Pulling feminism into this is so
completely neither here nor there and pointless to the extent of
endangering the work of so many feminists over 50+ years. This has zero to
do with feminism. And since she didn't get, I am a white, now not so young,
used to be privileged woman, so I trump her stupidass, gossamer argument
and defense of her stupidass reply. Gah. Gah is my favorite word these
days. I'm a librarian with a Master's degree and years of professional
experience. I don't need to be sanctimoniously schooled on my need to learn
to read and comprehend. How she ever became a chair of anything, let alone
higher ed, is dumbfounding, and I would recommend she take some sound
lessons from McClaren's A Chairy Tale.
https://www.youtube.com/watch?v=5XIiWOuDuxc

Thank you for reading. Wow. How obnoxious and condescending. But she's
already established that, for all, not just me, hasn't she?

Where's her public defense pronouncement? Hmm? No, just private. She is
what, an academic troll, essentially? Or unaware of her own
inappropriateness in addressing colleagues? It is all so degrading to the
spirit of this listserv and each other's views and opinions. Gene
Youngblood's, certainly being among the most essential and informed.

Elizabeth McMahon

-- Forwarded message --
From: Sasha Waters Freyer swfre...@vcu.edu
Date: Tue, Mar 31, 2015 at 11:43 AM
Subject: Response off list
To: elizmcma...@gmail.com




Elizabeth,

I honestly don't know what you mean by my inability to edit --??  Sorry
if I mucked up your list.  I almost never post to frameworks!

I responded publicly to Youngblood's personal and *highly inappropriate
attack* on me in a public forum because I think it is important than when
older, established men seek to publicly shame or scold younger women in
their field, they get called out on it.  I actually and sincerely do not
give a shirt what Mr. Youngblood thinks of me (we have never met or
exchanged any other words).  I do care on principle that personal attacks
on one's character - please re-read what he wrote, it's quite bullying -
should not be a part of a public exchange of ideas.

Thank you for reading.


Sasha

‡‡‡

Sasha Waters Freyer
Chair, Department of Photography  Film
VCU School of the Arts
325 N. Harrison St. / PO Box 843088
Richmond, VA 23284

tel. 804.828.2162
email: swfre...@vcu.edu
http://www.arts.vcu.edu/photofilm/



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Re: [Frameworks] Vasulkas research

[Elizabeth McMahon]

I'd start with this. It is the definition of a tome.
http://www.amazon.com/Buffalo-Heads-Practice-Pioneers-1973--1990/dp/0262720507/ref=sr_1_1?ie=UTF8qid=1427818203sr=8-1keywords=buffalo+media+vasulka

Elizabeth McMahon

On Tue, Mar 31, 2015 at 12:06 PM, Maat Galindo odnila...@gmail.com wrote:

 Hi all,

 I am conducting a research paper on  the history of The Kitchen, the role
 of the Vasulkas and their contributions to experimental media.

 Does anyone have any readings on these subjects that they can link me to?

 Thanks,

 Mathew Galindo

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Re: [Frameworks] Response to Gene Youngblood

[Elizabeth McMahon]

I apologize, in general, for whatever. I don't want to add to polemics that
disdain and dissuade an inclusive environment.  Like Sasha, I barely
contribute, to most listservs, for fear of attack and ridicule, and yet I
did apparently myself, however, depending on your POV, regarding her
remarks directed at Gene Youngblood, which really irked me, and I do not
apologize for them. I hope their tone was professional, but if not, then I
was wrong. I know I can be a smart ass, but I did have fundamental problems
with Sasha's public comments of Gene's remarks, and I make no apology for
them.

Elizabeth McMahon

On Tue, Mar 31, 2015 at 2:41 PM, chris bravo iamdir...@gmail.com wrote:

 Saying that a film makes students want to commit suicide isn't a critique,
 its an offensive derogatory statement, which is directed not just towards
 the filmmaker, but towards her students especially.

 On Tue, Mar 31, 2015, 1:27 PM Dave Tetzlaff djte...@gmail.com wrote:

 Chill out, people!

 This is a Listserv. People write short posts quickly, and hit 'Send'.
 Rhetorical excess comes with the territory as we dash off our thoughts
 w/o reflecting deeply about whether our wording will read to others with
 the meanings they had for us when they popped into our heads.

 I took Sasha's OP as meant to advocate for films that have a sort of
 perspective not-yet presented in the thread -- works one perhaps could call
 more 'post-modern' engagements with culture and identity. I took the crack
 about Wavelength as essentially tangential and polemic -- an observation
 that many contemporary students are not much engaged with the aesthetic
 concerns of that work. It's not clear whether Sasha's pique was directed at
 Wavelength specifically or 'mid-century High modernism' in general -- i.e.
 maybe all 'structural film' and/or Brakhage abstractions etc.?? Regardless,
 intentionally or not, her language was destined to stir the pot, make some
 folks feel poked with a stick, and fire off testy replies.

 No film is beyond criticism, including observations that whatever it's
 merits for other situations, it's a poor choice for a given programmer or
 teacher's goals in addressing the specific audiences they have at hand.
 Sasha's snark was phrased as too universal: seeming to suggest Wavelength
 is no longer any good to ANY group of curious, excited young artists.
 But, indeed, I'm sure there ARE groups of curious, excited young artists
 without a background in cinema who would find Wavelength alienating, at
 least initially, and it's perfectly valid to pass on that film for an
 introduction to experimental film in favor of something more immediately
 engaging to the group at hand.

 As Gene so pungently observed, the problem starts with the absurdity of
 Donal's original query. First, the 3 films concept makes no sense, since
 experimental films range in length from a few minutes to several hours. (My
 gag 3: Star Spangled to Death, Sleep, The Extravagent Shadows... no
 intermissions or bathroom breaks!) Second, essential is just silly and
 off-point. Unlike Hollywood films directed at mass audiences and respecting
 a common set of conventions, experimental works are often very personal,
 and incredibly varied in form and content. Thus, what works are and aren't
 essential is not remotely universal, but conditional and contingent on
 for whom? and for what purpose? Third, this variety and specificity
 means trying to crowd-source a list of '3 essentials' is utter folly, that
 can only lead to unproductive arguments if people play along.

 In the thread OP, Donal didn't tell us anything about his own approach to
 the realm of the moving image or what kinds of art practices and
 aesthetics the folks attending the workshops will be coming from. For all
 we know, the attendees could all be middle-aged ceramicists or landscape
 painters. Ultimately, he needs to pick works that speak to him in some way
 he thinks will enable him to use them to engage 'noobs'. So it is with any
 instance of programming films. The work must 'fit' the programmer, the
 audience, and the purpose.

 Given the lack of info in the query, responses have (as one would expect)
 presumed teaching or exhibition situations with which the posters are
 familiar: Andy and Gene spoke of their students; Sasha referred to YOUNG
 ARTISTS. But I read the OP as posing an audience of experienced working
 artists who presumably already have some sort of aesthetic perspective,
 rather than the sort of student population that would sign up for a studies
 course in experimental film.

 Just as there is no universal 3 essential films, there is more than one
 valid pedagogical approach to introducing noobs to experimental cinema.
 Sometimes you want to ease folks in, showing work that has some familiar
 elements. Meshes is probably the most widely used introduction to
 experimental work, and over the decades so many of its elements have been
 incorporated into pop culture (advertising, music

Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?

[Elizabeth McMahon]

Dear Cindy,

Your distinction is well taken. However, I see Spook Sport so infused
with the witticism and singularity of each of them! I think it is
rightfully recognized as a brilliant tour de force of two of cinema's most
fecund experimental filmmaking minds.

I really appreciate the preliminary information on the memorial tribute for
Cecille, one of the most under-appreciated seminal forces in driving
experimental/avant garde filmmaking, with a particular spotlight on yeoman
women filmmakers.

I had learned privately of Aram's passage, and thank you for announcing it.
It is important for people to recognize how essential each were to the
other, as intimate partners, and partnered artists. I'd like to talk to you
privately, if you don't mind emailing, regarding Cecille. I have been an
admirer for many years, and always wanted to invite you for a program.
Maybe one of these days!

Best,
Elizabeth

On Sun, Mar 29, 2015 at 6:06 PM, C Keefer keef...@gmail.com wrote:

 Just a note to follow up on Elizabeth's great post. The Cecile Starr
 Memorial Tribute in NY is October 1, separate announcement to follow. Also,
 sorry to report Cecile's widow Aram Boyajian had been quite ill, and passed
 recently this month.

 Spook Sport is a film by Mary Ellen Bute, in which she hired Norman
 McLaren to do the animation.  It is not a film by Norman McLaren, despite
 the NFBC's attempt to 'reclaim' this film as McLaren's. Papers in Cecile
 Starr's Bute collection clearly prove this is a film by director Mary Ellen
 Bute

 best regards,
 Cindy Keefer
 Center for Visual Music
 www.centerforvisualmusic.org
 CVM email is cvmaccess (at) gmail.com




 -- Forwarded message --
 From: Elizabeth McMahon elizmcma...@gmail.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Cc:
 Date: Sat, 28 Mar 2015 18:29:04 -0400
 Subject: Re: [Frameworks] What are the 3 Essential Films that you would
 show Artists on their first foray into the Moving Image Realm ?
 RIP Cecile Starr. She championed so many experimental filmmakers,
 especially those who were women, and yes, it, gender, it is an important
 distinction. Few would know about Mary Ellen Bute (and Ted Nemeth), or
 (Alexander Alexeieff and) Claire Parker (or Starr and her husband, recently
 newly widowed husband, partner is celluloid crime Aram Boyajian) who, without
 her intense and incisive scholarship, advocacy, and distribution of
 experimental, avant garde, and animation of each type, we would all be so
 diminished in our understanding of film history.  Dennis is right about
 McClaren as so brilliant as to be included in the top of essentials, but I
 won't play this silly 3 films limit nonsense. All you need is the
 filmography from Anthology Film Archives ongoing, infamous Essential
 CInema series, a stalwart primer in basic film knowledge, to know what to
 program for your students or friends. Gary Handman, nee of UCLA, happily
 retired albeit available if you seek him out, is a librarian after just
 about everyone's heart, his syllabi in film studies over the years he
 worked and taught are essential, too, if what to see and know about in film
 history and studies. Perfect distillations with no BS.

 But, yeah, for each of the 3 chosen, I would program McLaren. Neigbours
 and Spook Sport are my two faves. Geez, Oskar Fischinger is my favorite,
 anything just anything, and good golly, Lotte Reineger, anyone? See, I
 succumbed and fell in to this nonsense. This is just absurd.

 Elizabeth












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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 ?

[Elizabeth McMahon]

RIP Cecile Starr. She championed so many experimental filmmakers,
especially those who were women, and yes, it, gender, it is an important
distinction. Few would know about Mary Ellen Bute (and Ted Nemeth), or
(Alexander Alexeieff and) Claire Parker (or Starr and her husband, recently
newly widowed husband, partner is celluloid crime Aram Boyajian) who, without
her intense and incisive scholarship, advocacy, and distribution of
experimental, avant garde, and animation of each type, we would all be so
diminished in our understanding of film history.  Dennis is right about
McClaren as so brilliant as to be included in the top of essentials, but I
won't play this silly 3 films limit nonsense. All you need is the
filmography from Anthology Film Archives ongoing, infamous Essential
CInema series, a stalwart primer in basic film knowledge, to know what to
program for your students or friends. Gary Handman, nee of UCLA, happily
retired albeit available if you seek him out, is a librarian after just
about everyone's heart, his syllabi in film studies over the years he
worked and taught are essential, too, if what to see and know about in film
history and studies. Perfect distillations with no BS.

But, yeah, for each of the 3 chosen, I would program McLaren. Neigbours
and Spook Sport are my two faves. Geez, Oskar Fischinger is my favorite,
anything just anything, and good golly, Lotte Reineger, anyone? See, I
succumbed and fell in to this nonsense. This is just absurd.

Elizabeth

On Sat, Mar 28, 2015 at 5:26 PM, Dennis Doros milefi...@gmail.com wrote:

 There are no three possible to represent the entire world of experimental
 film.

 But for women, you might want to start with Suspense by Lois Weber and
 Philip Smalley. It's extremely experimental for the year it was made.

 And with Shirley Clarke, having seen all of them now about two dozen times
 each over the past six years, I know that BRIDGES-GO-ROUND is everybody's
 favorite but I would say MOMENT IN LOVE is mine. Seeing her outtakes and
 notebooks, it's the one she worked the hardest to create and I love the
 work of choreographer Anna Sokolow. Also, we are just starting to show D.
 A. Pennebaker and Shirley Clarke's BRUSSELS LOOP films (there were also
 four or five other filmmakers involved) and they are really incredible up
 on the screen.

 But especially for artists, it's almost impossible not to include the best
 of experimental film without my favorite, which is BEGONE DULL CARE by
 Norman McLaren (and Evelyn Lambert) and it's tough to show him without the
 best of Len Lye.

 Also in mind with artists, and for more collaborations between man and a
 woman, you can't really go wrong with Alexeieff and Parker pin animation.


 Best regards,
 Dennis Doros
 Milestone Film  Video
 PO Box 128 / Harrington Park, NJ 07640
 Phone: 201-767-3117 / Fax: 201-767-3035 / Email: milefi...@gmail.com

 Visit our main website!  www.milestonefilms.com
 Visit our new websites!  www.mspresents.com, www.portraitofjason.com,
 www.shirleyclarkefilms.com,
 To see or download our 2014 Video Catalog, click here
 http://cdn.shopify.com/s/files/1/0150/7896/files/2014MilestoneVideoCatalog.pdf?75
 !


 Support Milestone Film on Facebook
 http://www.facebook.com/pages/Milestone-Film/22348485426 and Twitter
 https://twitter.com/#!/MilestoneFilms!


 On Fri, Mar 27, 2015 at 1:43 PM, Donal OCeilleachair 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.com


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Re: [Frameworks] posts

[elizabeth mcmahon]

You're her, Dominic! Elizabeth
  From: Dominic Angerame dominic.anger...@gmail.com
 To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.com 
 Sent: Tuesday, February 24, 2015 3:39 PM
 Subject: [Frameworks] posts
   
Have not received any posts in the last few days. Anyone had this problem.


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Re: [Frameworks] Archiving the Avant Garde: A visit from Mark Toscano || Sunday, 3/1 || VSW || Rochester, NY

[Elizabeth McMahon]

What a great program, Escobar! I hope you let GEH and U of R know about
this! Even Buffalo's Hallwalls and Squeaky Wheel. Buffalo's only a little
over an hour away. Good luck with this. Mark Toscano is a legend to those
who have followed and collected experimental films for years and years. I
always wanted to do a program with him.

Best,
Elizabeth

On Sat, Feb 14, 2015 at 3:39 PM, Escobar López Almudena hide...@gmail.com
wrote:

 Hi all,

  The Visual Studies Workshop welcomes Mark Toscano to Rochester March 1st.
 For the past twelve years, film archivist and curator Mark Toscano has
 specialized in the conservation and preservation of experimental films,
 working in Los Angeles at the Academy Film Archive.  In this visit, he will
 talk about the challenges of working on independent artists’ films, and
 present a short program of restored work by artists including Thom
 Andersen, Suzan Pitt, David Rimmer, Nina Menkes, and others.

  Sunday, March 1st, 4pm: Archiving the Avant Garde: A visit from Mark
 Toscano
 The Visual Studies Workshop Auditorium
 31, Prince Street, Rochester
 Free and open to the public



  All films shown on original format: 16mm and digital


  Almudena Escobar Lopez
 Ph.D. Student in Visual and Cultural Studies
 University of Rochester

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Re: [Frameworks] Books on the History of Avant-Garde film in US

[elizabeth mcmahon]

It is time to toss this in for inclusion. My spitfire, irreverent, 
iconoclastic, somewhat distracted boss at Donnell Media Center took time off to 
finish her dissertation on Stan Brakhage, and produced this, which of course 
should be included in this bibliography. 
http://www.jstor.org/discover/10.2307/25304811?sid=21105748429503uid=3739776uid=3739256uid=2uid=4
Marie's quiet importance (not to her staff) in securing the history of 
experimental and avant garde film for the general public, which includes 
thousands of NYU and Columbia students, and just regular folk, is so far 
unrealized largely, along with so many others doing similar work, and allowing 
such work to be done, like NYSCA or ETC, which is something I am trying to 
change, organizing a multi-venue program to spotlight the little guys.  Please, 
Eric, include Marie's dissertation. 
Thanks,Elizabeth
  From: Michael Betancourt hinterland.mov...@gmail.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
 Sent: Thursday, January 29, 2015 1:16 PM
 Subject: [Frameworks] Books on the History of Avant-Garde film in US
   
I'm sure I'm forgetting something, so please help!

Histories of avant-gardefilm in the United States:  Lewis Jacobs, 
“ExperimentalCinema in America 1921-1947” in The Rise of the American Film 
(1948)Roger Manvell, Experiment in the Film (1949) Gregory Battcock, The New 
American Cinema (1967) Sheldan Renan, An Introduction to the American 
UndergroundFilm (1967) Parker Tyler, The Underground Film: A Critical 
History(1698) Gene Youngblood, Expanded Cinema (1970) David Curtis, 
Experimental Cinema (1971) Amos Vogel, Film as a Subversive Art (1976) P. Adams 
Sitney, Visionary Film (1974) Maureen Turin, Abstraction in Avant-Garde 
Films(1978/85) William Wees, Light Moving in Time: Studies in the 
VisualAesthetics of Avant-Garde Film (1992) Scott MacDonald, Avant-Garde Film 
Motion Studies (1993) James Peterson, Dreams of Chaos, Visions of Order (1994) 
Jan-Christopher Horak, Lovers of Cinema: The First American FilmAvant-garde, 
1919-1945 (1998) Joan Hawkins, Cutting Edge: Art-Horror and the 
HorrificAvant-Garde (2000) Bruce Posner, Unseen Cinema: Early American 
Avant-GardeFilm 1893-1941 (2001) Lauren Rabinovitz, Points ofResistance: Women, 
Power, and Politics in the New York Avant-garde Cinema, 1943-71 (2003) David E. 
James, The Most Typical Avant-Garde: History andGeography of Minor Cinemas in 
Los Angeles (2005) Paul Arthur, Line of Sight: American Avant-Garde FilmSince 
1965 (2005) Alexander Graf, ed., Avant-Garde Film (Avant-Garde CriticalStudies 
23) (2007) A. L. Rees, A History of Experimental Film and Video(2011)

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com
twitter.com/cinegraphic | vimeo.com/cinegraphic
www.cinegraphic.net | the avant-garde film  video blog

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Re: [Frameworks] Books on the History of Avant-Garde film in US

[Elizabeth McMahon]

Don't forget this important tome, Buffalo Heads: Media Study, Media
Practice, Media Pioneers, 1973–1990

http://mitpress.mit.edu/books/buffalo-heads

Elizabeth McMahon

On Thu, Jan 29, 2015 at 1:16 PM, Michael Betancourt 
hinterland.mov...@gmail.com wrote:

 I'm sure I'm forgetting something, so please help!

 Histories of avant-garde film in the United States:





 Lewis Jacobs, “Experimental Cinema in America 1921-1947” in *The Rise of
 the American Film* (1948)

 Roger Manvell, *Experiment in the Film* (1949)



 Gregory Battcock, *The New American Cinema* (1967)



 Sheldan Renan, *An Introduction to the American Underground Film *(1967)



 Parker Tyler, *The Underground Film: A Critical History* (1698)



 Gene Youngblood, *Expanded Cinema* (1970)



 David Curtis, *Experimental Cinema *(1971)



 Amos Vogel, *Film as a Subversive Art* (1976)



 P. Adams Sitney, *Visionary Film* (1974)



 Maureen Turin, *Abstraction in Avant-Garde Films* (1978/85)



 William Wees, *Light Moving in Time: Studies in the Visual Aesthetics of
 Avant-Garde Film *(1992)



 Scott MacDonald, *Avant-Garde Film Motion Studies* (1993)



 James Peterson, *Dreams of Chaos, Visions of Order* (1994)



 Jan-Christopher Horak, *Lovers of Cinema: The First American Film
 Avant-garde, 1919-1945* (1998)



 Joan Hawkins, *Cutting Edge: Art-Horror and the Horrific Avant-Garde*
 (2000)



 Bruce Posner, *Unseen Cinema: Early American Avant-Garde Film 1893-1941*
 (2001)



 Lauren Rabinovitz, *Points of Resistance: Women, Power, and Politics in
 the New York Avant-garde Cinema, 1943-71* (2003)



 David E. James, *The Most Typical Avant-Garde: History and Geography of
 Minor Cinemas in Los Angeles* (2005)



 Paul Arthur, *Line of Sight: American Avant-Garde Film Since 1965* (2005)



 Alexander Graf, ed., *Avant-Garde Film (Avant-Garde Critical Studies 23)*
 (2007)



 A. L. Rees, *A History of Experimental Film and Video* (2011)



 Michael Betancourt
 Savannah, GA USA


 michaelbetancourt.com
 twitter.com/cinegraphic | vimeo.com/cinegraphic
 www.cinegraphic.net | the avant-garde film  video blog

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Re: [Frameworks] Screening possibilities in Rochester NY

[Elizabeth McMahon]

Go to Buffalo. There's Hallwalls and Squeaky Wheel and the Burchfield
Center, and smaller independent places in Allentown (a historic Buffalo
nabe) and the West side.  However, these places usually program months in
advance, but it cannot hurt to place a call or send an email.

Good luck! Tell Ed I said hi!

Elizabeth

On Fri, Dec 19, 2014 at 3:11 AM, Carrie Schreck carriemakesmov...@gmail.com
 wrote:

 RIT also has a great film program with staff that are involved in local
 arts, check in with the film department's FVASA, they'll have a beat on
 good events

 Sent from my Commodore64.

 On Dec 17, 2014, at 3:10 PM, Roger D. Wilson rogerdwil...@sympatico.ca
 wrote:

 Hello frameworkers!

 I'm going to be in Rochester NY in early February to take some training at
 George Eastman House and I was thinking I might try to screen some of my
 experimental films while I am in town. Does anyone on this forum know of
 any media centers or art galleries that might be interested in programming
 my films while I'm in town?

 Thanks folks!

 Roger


 Roger D. Wilson
 Film Scientist
 613 324 - 7504
 rogerdwil...@sympatico.ca


 http://www.rogerdwilson.ca
 http://www.windowscollective.ca/
 https://www.facebook.com/people/Roger-D-Wilson/1289926661
 https://twitter.com/rdwbleachedfilm


 Without failure you can never achieve success. I have based my process and
 my career as an experimental film artist on this statement; and I welcome
 it as it pushes me forward as an artist to try something different,
 something new.

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Re: [Frameworks] tableau vivante : experimental film and single frames

[Elizabeth McMahon]

There is a sequence of tableaux vivants in Eyes Wide Shut, also Sweet
Charity.

Elizabeth

On Tue, Oct 7, 2014 at 12:23 AM, Jonathan M. Hall jmh...@pomona.edu wrote:

  Dear Rebekka,
 Peter Greenaway's Zed and Two Noughts does this both in terms of painting
 and the film frame.
 And, yes, I'd second Gene's suggestion of Shiho Kano.
 With best wishes,
 Jonathan


  Jonathan M Hall
 Department of Media Studies
 Pomona College
 140 West Sixth Street
 Claremont CA 91711-6335 USA
 1-909-607-2214 (office)
 1-909-621-8296 (fax)
 http://mediastudies.pomona.edu/people/jonathan-m-hall/
   --
 *From:* FrameWorks [frameworks-boun...@jonasmekasfilms.com] on behalf of
 Jared Ashburn [ashburn.ja...@gmail.com]
 *Sent:* Monday, October 06, 2014 6:42 PM
 *To:* Gene Youngblood; Experimental Film Discussion List
 *Subject:* Re: [Frameworks] tableau vivante : experimental film and
 single frames

   Warhol: Haircut, Sleep, Beauty #2 and portions of Chelsea
 Girls. Jack Smith's Flaming Creatures would be good too.

 On Oct 6, 2014, at 7:24 PM, Gene Youngblood ato...@comcast.net wrote:

Some of these are probably stretching too far, others I think
 qualify...

 Some Warhol
 Certain moments in Kenneth Anger
 Geography of the Body
 Fragments of Etoile de Mer and The Seashell and the Clergyman
 fragments of Christopher MacLaine’s The End
 James Broughton, The Golden Positions
 Cocteau, Blood of a Poet
 James Herbert’s nudes
 parts of Joan Jonas’ I Want To Live In the Country
 some of Shiho Kano, but I can’t remember which
 ken Kobland’s Flaubert Dreams of Travel
 Daina Krumins’ The Divine Miracle
 some setups in Mike Kuchar
  Owen Land, Noli Me Tangere
 Tracey Moffatt, Night Cries
 Parts of Richard Meyers’ 37/73
 Sidney Peterson, Mr. Frenhofer and the Minotaur
 Ed Rankus, Naked Doom
 John Sturgeon’s early work, 1975-79


  *From:* Rebekka Erin Moran rebekka.mo...@gmail.com
 *Sent:* Monday, October 06, 2014 3:08 PM
 *To:* frameworks@jonasmekasfilms.com
 *Subject:* [Frameworks] tableau vivante : experimental film and single
 frames

  Hi,

 I am researching a project of the use of the Tableau Vivant in
 experimental or avant-garde filmmaking (history, theory, etc).
 I am particularly interested in any examples of filmmakers that were
 investigating the tableau vivant as a reference to a film frame and not to
 a painting.
 Also any sub themes that may relate to tableau vivant as a durational film
 frame or living freeze frame, or a tableau vivant as a non-active
 scene/image shot stop motion or frame by frame (in camera or optical
 printed).

 Any suggestions for readings or names would be greatly appreciated!

 best,
 Rebekka




  Rebekka Moran

 rebekka.mo...@gmail.com
 http://www.rebekkamoran.com
 tel: +345 849 5978




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Re: [Frameworks] Portraits of artists

[Elizabeth McMahon]

This reminded me of Albert Maysles film, Sally Gross: The Pleasure of Her
Stillness
http://mayslesfilms.com/film/sally-gross-the-pleasure-of-stillness/

Elizabeth

On Fri, Sep 26, 2014 at 10:49 AM, Kate Ewald katherine.ew...@gmail.com
wrote:

 Others that come to mind:

 Tacita Dean's more recent work on various artists.

 Gunvor Nelson  Dorothy Wiley's 'Five Artists: BillBobBillBillBob.'

 Not sure how available these might be in India, but it's worth a try and
 they weren't mentioned before.  I think the Gunvor Nelson/Dorothy Wiley is
 available via Canyon Cinema at least.

 -Kate

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Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC Talking Movies

[elizabeth mcmahon]

I pasted it primarily for the spotlight on Film Makers Cooperative and the role 
it has played in experimental film for over 40 years., and the tireless 
champion of experimental and avant garde filmmaking, MM Serra.  In addition, 
given the audience it was intended for and would reach, a mainstream one, I 
found it impressive that there was any attention paid at all.  So sorry to have 
offended you, Nick.
 

Elizabeth



 From: nicky.ham...@talktalk.net nicky.ham...@talktalk.net
To: frameworks@jonasmekasfilms.com 
Sent: Wednesday, September 10, 2014 7:11 AM
Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies
 


Don't despair, because itwon't tell you anything you didn't already know, so 
you're not losing out, on the contrary, it's a very partial, misleading and 
incomplete account.

Nicky.




-Original Message-
From: jaime cleeland ethnom...@yahoo.co.uk
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wed, 10 Sep 2014 11:52
Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies


BBC Worldwide (International Site) We're sorry but this site is not accessible 
from the UK as it is part of our 
international service and is not funded by the licence fee. It is run 
commercially by BBC Worldwide, a wholly-owned subsidiary of the BBC, the 
profits 
made from it go back to BBC programme-makers to help fund great new BBC 
programmes. You can find out more about BBC Worldwide and its digital 
activities 
at www.bbcworldwide.com. 
On Tue, 9/9/14, Adam Hyman a...@lafilmforum.org wrote: Subject: Re: 
[Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies To: Experimental Film Discussion List 
frameworks@jonasmekasfilms.com Date: Tuesday, 9 September, 2014, 16:54 Re: 
[Frameworks] Fantastic Focus on Experimental Filmmaking On BBC Talking Movies 
Here’s a link to one of them, not requiring Facebook, focusing on England: 
http://www.bbc.com/culture/story/20140829-are-experimental-films-elitist And 
the overall webpage http://www.bbc.com/culture/tv/talking-movies But the one on 
the Film-makers Coop and Indian films doesn’t seem to be on that page yet. On 
9/9/14 2:21 AM, Elizabeth McMahon elizmcma...@gmail.com wrote: If you love 
experimental/avantgarde filmmaking, you'll eat up these two episodes focused on 
its history! Unfortunately, it's only available on Facebook, on BBC Talking 
Movies page, under videos, so I suspect you'll need a FB account (or maybe 
not). The episodes are the first two on the top left. Great stuff! Big shout 
out to Film-Maker's Cooperative in NYC, in the second
 episode. That's M.M Serra, its Executive Director, in the stacks.  
https://www.facebook.com/media/set/?set=vb.115246171845694type=2 
https://www.facebook.com/media/set/?set=vb.115246171845694amp;type=2   Best, 
Elizabeth McMahon ___ FrameWorks 
mailing list FrameWorks@jonasmekasfilms.com 
https://mailman-mail5.webfaction.com/listinfo/frameworks -Inline Attachment 
Follows- ___ FrameWorks mailing 
list FrameWorks@jonasmekasfilms.com 
https://mailman-mail5.webfaction.com/listinfo/frameworks 
___
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https://mailman-mail5.webfaction.com/listinfo/frameworks 

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Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC Talking Movies

[elizabeth mcmahon]

I agree! I just wanted to give the complete program. No hard feelings. And 
sorry for leaving the y off your name.

Best,

Elizabeth



 From: nicky.ham...@talktalk.net nicky.ham...@talktalk.net
To: frameworks@jonasmekasfilms.com 
Sent: Wednesday, September 10, 2014 10:53 AM
Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies
 


Yes, sorry, I should have made it clear that my moan was to do with the second 
half of the first episode,

Nicky.




-Original Message-
From: o...@thenowcorporation.com o...@thenowcorporation.com
To: elizabeth mcmahon elizmcma...@yahoo.com; Experimental Film Discussion 
List frameworks@jonasmekasfilms.com
Sent: Wed, 10 Sep 2014 13:30
Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies


FMC yay!

Owen's iphone 


On Sep 10, 2014, at 7:32 AM, elizabeth mcmahon elizmcma...@yahoo.com wrote:


I pasted it primarily for the spotlight on Film Makers Cooperative and the role 
it has played in experimental film for over 40 years., and the tireless 
champion of experimental and avant garde filmmaking, MM Serra.  In addition, 
given the audience it was intended for and would reach, a mainstream one, I 
found it impressive that there was any attention paid at all.  So sorry to have 
offended you, Nick.
 


Elizabeth




 From: nicky.ham...@talktalk.net nicky.ham...@talktalk.net
To: frameworks@jonasmekasfilms.com 
Sent: Wednesday, September 10, 2014 7:11 AM
Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies
 


Don't despair, because itwon't tell you anything you didn't already know, so 
you're not losing out, on the contrary, it's a very partial, misleading and 
incomplete account.

Nicky.
 









-Original Message-
From: jaime cleeland ethnom...@yahoo.co.uk
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Wed, 10 Sep 2014 11:52
Subject: Re: [Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies


BBC Worldwide (International Site) We're sorry but this site is not accessible 
from the UK as it is part of our 
international service and is not funded by the licence fee. It is run 
commercially by BBC Worldwide, a wholly-owned subsidiary of the BBC, the 
profits 
made from it go back to BBC programme-makers to help fund great new BBC 
programmes. You can find out more about BBC Worldwide and its digital 
activities 
at www.bbcworldwide.com. 
On Tue, 9/9/14, Adam Hyman a...@lafilmforum.org wrote: Subject: Re: 
[Frameworks] Fantastic Focus on Experimental Filmmaking On BBC 
Talking Movies To: Experimental Film Discussion List 
frameworks@jonasmekasfilms.com Date: Tuesday, 9 September, 2014, 16:54 Re: 
[Frameworks] Fantastic Focus on Experimental Filmmaking On BBC Talking Movies 
Here’s a link to one of them, not requiring Facebook, focusing on England: 
http://www.bbc.com/culture/story/20140829-are-experimental-films-elitist And 
the overall webpage http://www.bbc.com/culture/tv/talking-movies But the one on 
the Film-makers Coop and Indian films doesn’t seem to be on that page yet. On 
9/9/14 2:21 AM, Elizabeth McMahon elizmcma...@gmail.com wrote: If you love 
experimental/avantgarde filmmaking, you'll eat up these two episodes focused on 
its history! Unfortunately, it's only available on Facebook, on BBC Talking 
Movies page, under videos, so I suspect you'll need a FB account (or maybe 
not). The episodes are the first two on the top left. Great stuff! Big shout 
out to Film-Maker's Cooperative in NYC, in the second
 episode. That's M.M Serra, its Executive Director, in the stacks.  
https://www.facebook.com/media/set/?set=vb.115246171845694type=2 
https://www.facebook.com/media/set/?set=vb.115246171845694amp;type=2   Best, 
Elizabeth McMahon ___ FrameWorks 
mailing list FrameWorks@jonasmekasfilms.com 
https://mailman-mail5.webfaction.com/listinfo/frameworks -Inline Attachment 
Follows- ___ FrameWorks mailing 
list FrameWorks@jonasmekasfilms.com 
https://mailman-mail5.webfaction.com/listinfo/frameworks 
___
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https://mailman-mail5.webfaction.com/listinfo/frameworks 

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[Frameworks] Fantastic Focus on Experimental Filmmaking On BBC Talking Movies!

[Elizabeth McMahon]

If you love experimental/avantgarde filmmaking, you'll eat up these two
episodes focused on its history! Unfortunately, it's only available on
Facebook, on BBC Talking Movies page, under videos, so I suspect you'll
need a FB account (or maybe not). The episodes are the first two on the top
left. Great stuff! Big shout out to Film-Maker's Cooperative in NYC, in the
second episode. That's M.M Serra, its Executive Director, in the stacks.


https://www.facebook.com/media/set/?set=vb.115246171845694type=2


Best,

Elizabeth McMahon
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[Frameworks] Solar Energy to Help Power Film Screenings at Cobble Hill Cinemas

[Elizabeth McMahon]

I think this is really terrific! Not necessarily innovative any longer in
general, but this is a clever application and soon, one day, hopefully will
be adopted as routine. *http://tinyurl.com/kyauq5e
http://tinyurl.com/kyauq5e*

-- 
Elizabeth
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[Frameworks] Fw: Your removal from the AMIA-L list

[elizabeth mcmahon]

Pip,

I was kicked off of AMIA's listserv, too. This is the email I received. Yahoo 
is the culprit, though they will blame the administrators. BS! I have switched 
to gmail and so far, so good. Finger's crossed. If you search Yahoo's help 
section, you will find many pissed off people having the same problem with 
their Yahoo acct. Here was Yahoo's lame response (the first one is much longer, 
but this will suffice): 
i Elizabeth,
 
Thank you for contacting Yahoo Mail.
 
If the issue persists, the best solution is to contact the mail system 
administrator or postmaster of the listserv, with which you are experiencing 
the issue
 
We recently changed our DMARC policy to proactively protect our users from 
increasing email spam that uses Yahoo users’ email addresses from other mail 
servers. This is an important step to secure our users’ email identities from 
being used by unauthorized senders. It also interferes with some long-standing 
uses of identities that are authorized by the user but not verifiable.
By publishing a “p=reject” record, Yahoo tells other DMARC compliant systems to 
reject mail from Yahoo users that isn’t genuinely originated from a Yahoo 
server.
Thank you again for contacting Yahoo Mail.
 
Real helpful, huh? If you want the first one, I would be happy to send it. But 
basically Yahoo bounces all listserv emails now, for no discernible reason. 
Thanks Marissa Mayer.

Elizabeth

- Forwarded Message -
From: University of Kentucky LISTSERV Server (14.4) lists...@lsv.uky.edu
To: Elizabeth Mcmahon elizmcma...@yahoo.com 
Sent: Sunday, August 24, 2014 12:02 AM
Subject: Your removal from the AMIA-L list
 

Sun, 24 Aug 2014 00:02:01

You have been automatically removed  from the AMIA-L list (Association of
Moving Image Archivists)  as a result of repeated  delivery error reports
from your  mail system. This  decision was  based on the  automatic error
monitoring policy  in effect for the  list, and has not  been reviewed or
otherwise confirmed  by a human  being. If  you receive this  message, it
means that  something is wrong: while  you are obviously able  to receive
mail, your mail system has been regularly reporting that your account did
not exist, or that you were otherwise permanently unable to receive mail.
Here is some information which may assist  you or your local help desk in
determining the cause of the problem:

- The failing address is elizmcma...@yahoo.com.

- The first error was reported on 2014-08-19.

- Since then, a total of 3 delivery errors have been received.

- The last  reported error was: 5.7.9 554 5.7.9  Message not accepted for
policy reasons. See http://postmaster.yahoo.com/errors/postmaster-28.html

PLEASE DO NOT  IGNORE THIS MESSAGE. While you can  of course re-subscribe
to the list, it is important for  you to report this problem to your mail
administrator so that  it can be solved. This problem  is not specific to
the AMIA-L list, and also affects  your private mail. This means that YOU
HAVE PROBABLY LOST  SOME PRIVATE MAIL AS WELL. Anyone  trying to write to
you  during the  same time  frame will  probably have  received the  same
errors for the same reason. The AMIA-L list is but one of the many people
who  may  have  tried  to  write  to  you  while  your  mail  system  was
malfunctioning.

DO NOT LET TECHNICAL PEOPLE CONVINCE YOU THAT THIS IS NORMAL. It is never
normal for a mail system to claim  that a valid, working account does not
exist, just as it would not be  normal for the post office to return some
of  your mail  with  addressee  unknown when  the  address was  written
correctly.  It is  true that  some mail  systems are  less reliable  than
others, and your technical people may be doing the best they can with the
tools  they have.  But, ultimately,  the level  of service  that you  are
receiving is the result of a  business decision, and not something due to
a universal technical limitation that  one can only accept. Reliable mail
systems do exist, and  it is ultimately up to you  to decide whether this
level of service is acceptable or not.


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Re: [Frameworks] Fw: Your removal from the AMIA-L list

[Elizabeth McMahon]

On Mon, Aug 25, 2014 at 8:24 PM, elizabeth mcmahon elizmcma...@yahoo.com
wrote:

 Pip,

 I was kicked off of AMIA's listserv, too. This is the email I received.
 Yahoo is the culprit, though they will blame the administrators. BS! I have
 switched to gmail and so far, so good. Finger's crossed. If you search
 Yahoo's help section, you will find many pissed off people having the same
 problem with their Yahoo acct. Here was Yahoo's lame response (the first
 one is much longer, but this will suffice):
 i Elizabeth,

 Thank you for contacting Yahoo Mail.

 If the issue persists, the best solution is to contact the mail system
 administrator or postmaster of the listserv, with which you are
 experiencing the issue

 We recently changed our DMARC policy to proactively protect our users from
 increasing email spam that uses Yahoo users’ email addresses from other
 mail servers. This is an important step to secure our users’ email
 identities from being used by unauthorized senders. It also interferes with
 some long-standing uses of identities that are authorized by the user but
 not verifiable.
 By publishing a “p=reject” record, Yahoo tells other DMARC compliant
 systems to reject mail from Yahoo users that isn’t genuinely originated
 from a Yahoo server.
 Thank you again for contacting Yahoo Mail.

 Real helpful, huh? If you want the first one, I would be happy to send it.
 But basically Yahoo bounces all listserv emails now, for no discernible
 reason. Thanks Marissa Mayer.

 Elizabeth

   - Forwarded Message -
  *From:* University of Kentucky LISTSERV Server (14.4) 
 lists...@lsv.uky.edu
 *To:* Elizabeth Mcmahon elizmcma...@yahoo.com
 *Sent:* Sunday, August 24, 2014 12:02 AM
 *Subject:* Your removal from the AMIA-L list

 Sun, 24 Aug 2014 00:02:01

 You have been automatically removed  from the AMIA-L list (Association of
 Moving Image Archivists)  as a result of repeated  delivery error reports
 from your  mail system. This  decision was  based on the  automatic error
 monitoring policy  in effect for the  list, and has not  been reviewed or
 otherwise confirmed  by a human  being. If  you receive this  message, it
 means that  something is wrong: while  you are obviously able  to receive
 mail, your mail system has been regularly reporting that your account did
 not exist, or that you were otherwise permanently unable to receive mail.
 Here is some information which may assist  you or your local help desk in
 determining the cause of the problem:

 - The failing address is elizmcma...@yahoo.com.

 - The first error was reported on 2014-08-19.

 - Since then, a total of 3 delivery errors have been received.

 - The last  reported error was: 5.7.9 554 5.7.9  Message not accepted for
 policy reasons. See http://postmaster.yahoo.com/errors/postmaster-28.html

 PLEASE DO NOT  IGNORE THIS MESSAGE. While you can  of course re-subscribe
 to the list, it is important for  you to report this problem to your mail
 administrator so that  it can be solved. This problem  is not specific to
 the AMIA-L list, and also affects  your private mail. This means that YOU
 HAVE PROBABLY LOST  SOME PRIVATE MAIL AS WELL. Anyone  trying to write to
 you  during the  same time  frame will  probably have  received the  same
 errors for the same reason. The AMIA-L list is but one of the many people
 who  may  have  tried  to  write  to  you  while  your  mail  system  was
 malfunctioning.

 DO NOT LET TECHNICAL PEOPLE CONVINCE YOU THAT THIS IS NORMAL. It is never
 normal for a mail system to claim  that a valid, working account does not
 exist, just as it would not be  normal for the post office to return some
 of  your mail  with  addressee  unknown when  the  address was  written
 correctly.  It is  true that  some mail  systems are  less reliable  than
 others, and your technical people may be doing the best they can with the
 tools  they have.  But, ultimately,  the level  of service  that you  are
 receiving is the result of a  business decision, and not something due to
 a universal technical limitation that  one can only accept. Reliable mail
 systems do exist, and  it is ultimately up to you  to decide whether this
 level of service is acceptable or not.



 ___
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 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks




-- 
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Re: [Frameworks] Fw: Your removal from the AMIA-L list

[Elizabeth McMahon]

On Mon, Aug 25, 2014 at 8:24 PM, elizabeth mcmahon elizmcma...@yahoo.com
wrote:

 Pip,

 I was kicked off of AMIA's listserv, too. This is the email I received.
 Yahoo is the culprit, though they will blame the administrators. BS! I have
 switched to gmail and so far, so good. Finger's crossed. If you search
 Yahoo's help section, you will find many pissed off people having the same
 problem with their Yahoo acct. Here was Yahoo's lame response (the first
 one is much longer, but this will suffice):
 i Elizabeth,

 Thank you for contacting Yahoo Mail.

 If the issue persists, the best solution is to contact the mail system
 administrator or postmaster of the listserv, with which you are
 experiencing the issue

 We recently changed our DMARC policy to proactively protect our users from
 increasing email spam that uses Yahoo users’ email addresses from other
 mail servers. This is an important step to secure our users’ email
 identities from being used by unauthorized senders. It also interferes with
 some long-standing uses of identities that are authorized by the user but
 not verifiable.
 By publishing a “p=reject” record, Yahoo tells other DMARC compliant
 systems to reject mail from Yahoo users that isn’t genuinely originated
 from a Yahoo server.
 Thank you again for contacting Yahoo Mail.

 Real helpful, huh? If you want the first one, I would be happy to send it.
 But basically Yahoo bounces all listserv emails now, for no discernible
 reason. Thanks Marissa Mayer.

 Elizabeth

   - Forwarded Message -
  *From:* University of Kentucky LISTSERV Server (14.4) 
 lists...@lsv.uky.edu
 *To:* Elizabeth Mcmahon elizmcma...@yahoo.com
 *Sent:* Sunday, August 24, 2014 12:02 AM
 *Subject:* Your removal from the AMIA-L list

 Sun, 24 Aug 2014 00:02:01

 You have been automatically removed  from the AMIA-L list (Association of
 Moving Image Archivists)  as a result of repeated  delivery error reports
 from your  mail system. This  decision was  based on the  automatic error
 monitoring policy  in effect for the  list, and has not  been reviewed or
 otherwise confirmed  by a human  being. If  you receive this  message, it
 means that  something is wrong: while  you are obviously able  to receive
 mail, your mail system has been regularly reporting that your account did
 not exist, or that you were otherwise permanently unable to receive mail.
 Here is some information which may assist  you or your local help desk in
 determining the cause of the problem:

 - The failing address is elizmcma...@yahoo.com.

 - The first error was reported on 2014-08-19.

 - Since then, a total of 3 delivery errors have been received.

 - The last  reported error was: 5.7.9 554 5.7.9  Message not accepted for
 policy reasons. See http://postmaster.yahoo.com/errors/postmaster-28.html

 PLEASE DO NOT  IGNORE THIS MESSAGE. While you can  of course re-subscribe
 to the list, it is important for  you to report this problem to your mail
 administrator so that  it can be solved. This problem  is not specific to
 the AMIA-L list, and also affects  your private mail. This means that YOU
 HAVE PROBABLY LOST  SOME PRIVATE MAIL AS WELL. Anyone  trying to write to
 you  during the  same time  frame will  probably have  received the  same
 errors for the same reason. The AMIA-L list is but one of the many people
 who  may  have  tried  to  write  to  you  while  your  mail  system  was
 malfunctioning.

 DO NOT LET TECHNICAL PEOPLE CONVINCE YOU THAT THIS IS NORMAL. It is never
 normal for a mail system to claim  that a valid, working account does not
 exist, just as it would not be  normal for the post office to return some
 of  your mail  with  addressee  unknown when  the  address was  written
 correctly.  It is  true that  some mail  systems are  less reliable  than
 others, and your technical people may be doing the best they can with the
 tools  they have.  But, ultimately,  the level  of service  that you  are
 receiving is the result of a  business decision, and not something due to
 a universal technical limitation that  one can only accept. Reliable mail
 systems do exist, and  it is ultimately up to you  to decide whether this
 level of service is acceptable or not.



 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks




-- 
Elizabeth
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Re: [Frameworks] animals and human-animal relationships on film

[elizabeth mcmahon]

Books, that may be helpful:

http://nypl.bibliocommons.com/item/show/15611713052907_animals_in_film

http://nypl.bibliocommons.com/item/show/11993112052907_animals_on_screen_and_radio

http://nypl.bibliocommons.com/item/show/15551762052907_animal_actors

http://nypl.bibliocommons.com/item/show/14068845052907_amazing_animal_actors

http://nypl.bibliocommons.com/item/show/10971872052907_not_so_dumb,_the_life_and_times_of_the_animal_actors

FIlms:

http://nypl.bibliocommons.com/item/show/17082772052907_animals_in_motion

Fast, Cheap, and Out of Control

Microcosmos

Bill and Coo - you can find in the Internet Archive

Un Chien Andalou, sort of

https://www.youtube.com/user/HenriLeChatNoir and others in the Henri saga of 
feline existentialism

And a simply beautiful bw film by experimental filmmaker Henry Hill, about his 
cat. I don't recall the title, but you could contact him. 
http://www.henryhills.com/about/contact.txt

http://nypl.bibliocommons.com/item/show/17120338052907_eadweard_muybridge_zoopraxographer

https://www.youtube.com/watch?v=_ed8Hbh5XK0 and other very early silent films 
by Ladislaw Starewicz

I hope these help.

Elizabeth

 From: sarah browne sarahjbro...@yahoo.ie
To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com 
Sent: Wednesday, April 23, 2014 11:05 AM
Subject: [Frameworks] animals and human-animal relationships on film
  


Dear Frameworkers,


I'm looking for some help in compiling a list of films that feature animals or 
human-animal relationships on film. Rather than wildlife documentaries (with 
some exceptions!) I'm more interested in the animal presence as an a kind of 
distancing tactic that allows for reflection on inter-human behaviours 
(ethics, empathy, violence). Arthouse or experimental material more than Babe.



Any tips very gratefully received!


Best wishes,


Sarah Browne

www.sarahbrowne.info
www.kennedybrowne.com


Hand to Mouth

CCA Derry-Londonderry

until 24 May 2014


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Re: [Frameworks] animals and human-animal relationships on film

[elizabeth mcmahon]

Oh, that reminded me of Blood of the Beasts. :(  

http://nypl.bibliocommons.com/item/show/17221432052907_your_closest_neighbors

http://nypl.bibliocommons.com/item/show/17595176052907_keep_em_flying


Elizabeth

 From: Cláudia Faria claudiapiresfa...@gmail.com
To: sarah browne sarahjbro...@yahoo.ie; Experimental Film Discussion List 
frameworks@jonasmekasfilms.com 
Sent: Wednesday, April 23, 2014 11:20 AM
Subject: Re: [Frameworks] animals and human-animal relationships on film
  


La bête lumineuse by Pierre Perrault
Bresson's Au hasard Balthazar 
Rat Life and Diet in North America by Joyce Wieland




On Wed, Apr 23, 2014 at 4:05 PM, sarah browne sarahjbro...@yahoo.ie wrote:

Dear Frameworkers,


I'm looking for some help in compiling a list of films that feature animals 
or human-animal relationships on film. Rather than wildlife documentaries 
(with some exceptions!) I'm more interested in the animal presence as an a 
kind of distancing tactic that allows for reflection on inter-human 
behaviours (ethics, empathy, violence). Arthouse or experimental material 
more than Babe.



Any tips very gratefully received!


Best wishes,


Sarah Browne

http://www.sarahbrowne.info/
http://www.kennedybrowne.com/


Hand to Mouth

CCA Derry-Londonderry

until 24 May 2014 


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Re: [Frameworks] animals and human-animal relationships on film

[elizabeth mcmahon]

The Ax Fight, and other films by Asch and Chagnon  
http://en.wikipedia.org/wiki/The_Ax_Fight

Que Viva Mexico https://archive.org/details/QuevivaMexico

At NYPL; these are ethnographic films that do have a sense of experimental 
filmmaking: Magic Rites: Divination by Animal Tracks
Herding Cattle On the Niger 
Fishing On the Niger

Elizabeth

 From: Tara Nelson brendamere...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Wednesday, April 23, 2014 12:24 PM
Subject: Re: [Frameworks] animals and human-animal relationships on film
  


One Species Removed by Jennifer Montgomery



On Wed, Apr 23, 2014 at 12:16 PM, Herb Shellenberger he...@ihphilly.org 
wrote:

Elegia (Zoltan Huszarik, 1965, Hungary, warning: animal death) 
Gibralter (Margaret Salmon, 2013, UK) 
Birds at Sunrise (Joyce Wieland, 1986, Canada) 
Una Furtiva Lagrima (Carlo Vogele, 2012, US) 
Proxyhawks (Jack Darcus, 1971, Canada) 
Phase IV (Saul Bass, 1974, US) 
Kes (Ken Loach, 1969, UK) 
Compound Eyes series by Paul Clipson (2011, US) 
  
Plenty Chris Marker films/videos 
  
And how about some early cinema like: 
Boxing Kangaroo (Max Skladanowsky, 1895, Germany) 
Falling Cat (Etienne-Jules Marey, 1890, France) 
Edison Boxing Cats (Dickson, 1894, US) 
  
Herb Shellenberger
Programs Office Manager

3701 CHESTNUT STREET | PHILADELPHIA, PA 19104
phone: 215.895.6575   |  fax: 215.895.6562
email: he...@ihphilly.org | web: www.ihousephilly.org 
  
  
From:FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
sarah browne
Sent: Wednesday, April 23, 2014 11:05 AM
To: frameworks@jonasmekasfilms.com
Subject: [Frameworks] animals and human-animal relationships on film   
  
Dear Frameworkers, 
   
I'm looking for some help in compiling a list of films that feature animals 
or human-animal relationships on film. Rather than wildlife documentaries 
(with some exceptions!) I'm more interested in the animal presence as an a 
kind of distancing tactic that allows for reflection on inter-human 
behaviours (ethics, empathy, violence). Arthouse or experimental material 
more than Babe.  
   
Any tips very gratefully received!  
   
Best wishes,  
   
Sarah Browne  
   
http://www.sarahbrowne.info/
http://www.kennedybrowne.com/ 

Hand to Mouth  
CCA Derry-Londonderry  
until 24 May 2014  
   
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Re: [Frameworks] Please unsubscribe me

[elizabeth mcmahon]

What I don't understand, is why anyone would want to unsubscribe to Frameworks! 
Of the many I'm on, this is by far the most charming, interesting, and 
informative. 

Elizabeth



 From: Pip Chodorov framewo...@re-voir.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Wednesday, March 26, 2014 6:31 PM
Subject: Re: [Frameworks] Please unsubscribe me
  

The unsubscribe link is in the headers, not the footers.
It appears at the top of every e-mail from the listserv, unless you 
have configured your e-mail software to conceal the headers.

The headers look like this:

Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
List-Id: Experimental Film Discussion List frameworks.jonasmekasfilms.com
List-Unsubscribe: https://mailman-mail5.webfaction.com/options/frameworks,
    mailto:frameworks-requ...@jonasmekasfilms.com?subject=unsubscribe
List-Archive: https://mailman-mail5.webfaction.com/pipermail/frameworks/
List-Post: mailto:frameworks@jonasmekasfilms.com
List-Help: mailto:frameworks-requ...@jonasmekasfilms.com?subject=help
List-Subscribe: https://mailman-mail5.webfaction.com/listinfo/frameworks,
    mailto:frameworks-requ...@jonasmekasfilms.com?subject=subscribe
Sender: FrameWorks frameworks-boun...@jonasmekasfilms.com

You only have to click on the appropriate link to change your 
subscription options.

- Pip Chodorov, FrameWorks




At 14:21 + 26/03/14, Herb Shellenberger wrote:
We likely wouldn't get daily/weekly unsubscribe messages if the 
footer would be updated to say:

FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
  Unsubscribe or edit preferences: 
http://mailman-mail5.webfaction.com/listinfo/frameworks

The unsubscribe dialog box is on that page but it honestly took me 
10 seconds to see it, as it's not easily viewable.

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Re: [Frameworks] filmmaker in residence programs

[elizabeth mcmahon]

Please like this page; opportunities are posted regularly! One was just a 
couple of days ago. https://www.facebook.com/groups/53364734892/ There's 
MacDowell Colony Artist residencies, but those are rather exclusive. Do you 
check NAMAC's job bank? Internships are posted there all the time.

Elizabeth 



 From: Christina Kolozsvary ckolo...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Monday, January 27, 2014 6:17 PM
Subject: Re: [Frameworks] filmmaker in residence programs
  


Hi Kelly,

I would actually like to request that the list be compiled through Framworks, 
and not private e-mail. Lists like these are the reason I signed up! 

Thanks!

Christina Kolozsvary
kolozsvary.com




On Mon, Jan 27, 2014 at 5:51 PM, Kelly Gallagher ke...@purpleriot.com wrote:

Hey Frameworkers,
I'm looking for summertime filmmaker in residence programs (anywhere). If 
you've had an especially great experience somewhere, could you private msg me 
off the listserv about the program- at ke...@purpleriot.com. 
Thank you!
Kelly Gallagher
http://www.purpleriot.com/
ke...@purpleriot.com 

 
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Re: [Frameworks] women and crime

[elizabeth mcmahon]

Did anyone mention the enthralling BBC series Prime Suspect with Helen 
Mirren? Positively addictive.
Elizabeth



 From: Gene Youngblood ato...@comcast.net
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Friday, January 24, 2014 4:11 PM
Subject: Re: [Frameworks] women and crime
  


Who would want to mess with the deadly babes in Robert Rodriguez’ “Sin 
City”? 


From: Caryn Cline  
Sent: Friday, January 24, 2014 1:33 PM 
To: Experimental Film Discussion 
List  
Subject: Re: [Frameworks] women and crime


Another interesting film that 
doesn't seem to appear anywhere else on these lists is the French film Le Petit 
Lieutenant, featuring 
Natalie Baye as the chief detective.   

Best, 

CC    



On Thu, Jan 23, 2014 at 4:52 PM, Barbara GMX barbara.kapu...@gmx.at wrote:

Thank you for the suggestions..  

With groups of women I mean in crime. Let´s say a police office where the  
boss and half of the crew are women -  
or a group of female thieves working together. 
I am interested in alternatives to the standard and classic structures of  
women as victims (even if they are the ones committing the murder,…) or of  
male/female relationships,.. 

And are there any suggestions for female detectives?! 
And always female directors! 

November by Hito Steyerl is a great reference! Thank you!!

Barbara 




On 23 Jan 2014, at 17:27, franco base frenk.ca...@gmail.com wrote:

Cat woman by Brian mills. 
Il 24/gen/2014 00:03 Peter Mudie peter.mu...@uwa.edu.au ha scritto:

Yes, it's like asking someone to help you find canned beans at  Safeway. 
Peter 
(Perth) 

There's actually quite a bit in the  mainstream: 


for groups:  start with the TV series Orphan Black (first season  on 
Blu-ray and DVD now, second season starts this spring); also earlier,  Doll 
House 
also pretty good: Continuum (sci-fi) on streaming Netflix 

Of course, Girl with the Dragon Tattoo, etc. 

Academic feminists have written a lot about this trend: 

Chris Holmlund, the deadly dolls chapter of Impossible 
Bodies 
Linda Mizejewski, Hardboiled and High Heeled 
Martha McCaughey and Neal King, eds, Reel Knockouts 
Hilary Neroni  The Violent Woman 

and there's the whole rape/revenge cycle…. 

that's just scratching the surface…good hunting 

Chuck Kleinhans 




On Jan 23, 2014, at 12:37 PM, Barbara GMX wrote:

Hello everyone,

I´ve been following your 
discussions and conversations for some time and I´m amazed! Thanks for 
all the great input!

Now I´ve got a question:
Do you have any 
good suggestions for crime films/documentaries, also videos, short and 
experimental film, where either the detective or the thief/gangster/con 
artist is a woman. Especially interesting would be groups of women. 

Thank you! 
Barbara
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-- 

Caryn 
Cline

co-producer, Acts of 
Witness 
http://www.actsofwitness.com/
vimeo.com/carynyc

 



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Re: [Frameworks] women and crime

[elizabeth mcmahon]

I guess it depends on your POV and what your description of crime is. But I'll 
throw these two out anyways, I and I agree, there's probably a million more. 
Lizzie Borden's Born in Flames and Spielberg's Sugarland Express. Re: women 
as detectives I saw this last week on TCM, The Penguin Pool Murders. Time Out 
Film  Guide, has a simply wonderful subject index that I turned to often at the 
library; Videohound's Golden Movie Retriever likewise has a handy index, and no 
longer published Motion Picture Guide. If I remember correctly, The Rough Guide 
to Film also had a juicy subject index. And I would be remiss not mentioning 
and giving a shout out for Halliwell's Filmgoer's Companion. All should be at a 
well stocked larger public library.  And of course, IMdB is pretty fantastic, 
too, for searching for films on a certain subject, and even from a certain 
time, and country. And this looks like a great site for you. Probably doesn't 
get into
 experimental or even independent film, so you'll have to look. 
http://www.crimeculture.com/Contents/CrimeFilms-5.html

Elizabeth



 From: Gene Youngblood ato...@comcast.net
To: programm...@oddballfilm.com; Experimental Film Discussion List 
frameworks@jonasmekasfilms.com 
Sent: Thursday, January 23, 2014 8:25 PM
Subject: Re: [Frameworks] women and crime
  


Anjelica Huston in The Grifters. 


From: Programming x  
Sent: Thursday, January 23, 2014 6:12 PM 
To: Experimental Film Discussion 
List  
Subject: Re: [Frameworks] women and crime 

 
lady thieves: Set It Off, How to Beat the High Cost of Living, Pink 
Panthers (Doc.), Bonnie and Clyde, Catwoman (in a variety of places)... 

 
lady gangs: Switchblade Sisters, Savage Streets, the Lizzies 
in the Warriors...
 

 
true-crime lady murderers and accomplices in film: The 2 
Aileen Wuornos docs by Nick Broomfield, Monster, Karla (a pretty terrible take 
on Paul Bernardo and Karla Homolka), Badlands, The Honeymoon Killers,  To 
Die For, The Bling Ring (there is a Lifetime version as well as the S. Coppola) 
and while we're on the Lifetime tip, there are tons like Blue Eyed Butcher 
(about Susan Smith), The Two Mr. Kissels, A Murder in New Hampshire, A Murder 
in 
the Hamptons, all based on real lady murderers... 

 
lady detectives: There was a documentary show about Dale 
Hinman, a lady detective from Florida and Dr. G about Florida's chief medical 
examiner., Silence of the Lambs, Kindergarten Cop... 

 
I bet more'll come to me later...

--- barbara.kapu...@gmx.at wrote:

From: 
Barbara GMX barbara.kapu...@gmx.at
To: 
Experimental Film Discussion List 
frameworks@jonasmekasfilms.com
Subject: Re: 
[Frameworks] women and crime
Date: Thu, 23 Jan 2014 
18:52:33 -0600

Thank you for the suggestions..  

With groups of women I mean in crime. Let´s say a 
police office where the boss and half of the crew are women -  
or a group of female thieves working together. 
I am interested in alternatives to the standard and classic structures of 
women as victims (even if they are the ones committing the murder,…) or of 
male/female relationships,.. 

And are there any suggestions for female detectives?! 
And always female directors! 

November by Hito Steyerl is a great reference! Thank you!! 

Barbara 



On 23 Jan 2014, at 17:27, franco base frenk.ca...@gmail.com 
wrote:

Cat woman by Brian mills. 
Il 24/gen/2014 00:03 Peter Mudie peter.mu...@uwa.edu.au ha  scritto:

Yes, it's like asking someone to help you find canned beans at  Safeway. 
Peter 
(Perth) 

There's actually quite a bit in the  mainstream: 


for groups:  start with the TV series Orphan Black (first season  on Blu-ray 
and DVD now, second season starts this spring); also earlier,  Doll House 
also pretty good: Continuum (sci-fi) on streaming Netflix 

Of course, Girl with the Dragon Tattoo, etc. 

Academic feminists have written a lot about this trend: 

Chris Holmlund, the deadly dolls chapter of Impossible Bodies 
Linda Mizejewski, Hardboiled and High Heeled 
Martha McCaughey and Neal King, eds, Reel Knockouts 
Hilary Neroni  The Violent Woman 

and there's the whole rape/revenge cycle…. 

that's just scratching the surface…good hunting 

Chuck Kleinhans 




On Jan 23, 2014, at 12:37 PM, Barbara GMX wrote:

Hello everyone,

I´ve been following your discussions 
  and conversations for some time and I´m amazed! Thanks for all the great 
  input!

Now I´ve got a question:
Do you have any good suggestions 
  for crime films/documentaries, also videos, short and experimental film, 
  where either the detective or the thief/gangster/con artist is a woman. 
  Especially interesting would be groups of women. 

Thank you! 
Barbara
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Re: [Frameworks] women and crime

[elizabeth mcmahon]

Lol. This reminded me of Water's Serial Mom, and The Gun In Betty Lou's 
Bag. Oh, and Citizen Ruth.

Elizabeth



 From: David Tetzlaff djte...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Thursday, January 23, 2014 8:57 PM
Subject: Re: [Frameworks] women and crime
  

 I am interested in alternatives to the standard and classic structures of 
 women as victims (even if they are the ones committing the murder,…) or of 
 male/female relationships,..

From the 'mainstream', but I think 'Bound' would be essential.

Then there's (barf) 'Basic Instinct'.

'Run Lola Run' is a crime film with an unvictimized female protagonist, though 
the male/female relationship is traditional. (And while hardly experimental, 
it's not at all a traditional narrative either...)

No one has cited 'Veronica Mars' (TV series) yet...

If you take demons as a metaphor for criminals, then 'Buffy The Vampire 
Slayer' is a kind of feminist cop show with a cnetral set of female buddies 
(Buffy/Willow). (Most of my lesbian/feminist students seemed to be big fans of 
this show back in the day...)

I haven't seen 'Orange Is The New Black', but it sounds like it meets your 
criteria.

It's not surprising that as far as the 'mainstream' goes, more interesting 
things are coming out of TV than Hollywood cinema, which seems to be 
all-comic-book-adaptations all of the time.

---

When you mentioned women directors, my first thought was 'Ida Lupino'. 
Checking her IMDB page I see she directed an episode of _Have Gun Will Travel_ 
titled 'Lady With A Gun' and an episode of _Thriller_ titled 'The Lethal 
Ladies'. Might be interesting...

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Re: [Frameworks] Rally for The Donnell Media Center Wednesday: Accurate Information

[elizabeth mcmahon]

Yeah, the Media Center staff also went from having a staff of over 20, 
comprising professionals, clerical, and pages, to 3 people. Budgets for lines 
for films, dvds, cds, books, periodicals, and electroncs, evaporated. It's a 
legacy project, not a living department. And btw, when it was at Donnell, it 
was considered a unit. It was one of many. Donneel Media Center, contrary to 
Ms. Ross-Snook's assertion, was one of the many beating hearts of the Donnell 
Library Center. No one who got what the library was about would ever deign to 
separate on from the whole. 
 
Like I said. It's gone from over 20 staff, to3.
 
Need I say more.
 
Elena has an agenda, and axe to grind.
 
Please support this cause, to save the NY Libraries system (there are three). 
They are all up for sale. 
 
 Happening now, and close to ending, but nevertheless important and enduringly 
substantive, Monday, April 15, Noon to 1:00
Rally for Mid-Manhattan and SIBIL Libraries, both slated to be sold off
Meet in front of 42st Central Reference Library at corner of 40th Street and 
5th Avenue
For more info
http://pol.moveon.org/event/events/event.html?event_id=138054
Wednesday, April 17, Noon to 1:00
Rally for Donnell Library, An Epic Tradegy
20 West 53rd Street, between 5th and 6th Avenues, (meet at 40 West 53rd St) 
Home of Winnie The Pooh, rare music CDs, and documentaries
Sold off to a developer in 2008 and still no promised replacement
Come say We Remember and Never Again!
For more info
http://pol.moveon.org/event/events/event.html?event_id=138060
 

Elizabeth



 From: Elena Rossi-Snook elenarossisn...@nypl.org
To: frameworks@jonasmekasfilms.com 
Sent: Monday, April 15, 2013 1:06 PM
Subject: [Frameworks] Rally for The Donnell Media Center Wednesday: Accurate 
Information
  


While I encourage public support of our library systems, I'd like to make it 
explicitly clear that the collections of the Donnell Media Center (please note 
here the difference between Donnell Library Center and Donnell Media Center 
which was a department of that branch) are not in jeopardy.  The reserve 
videos and DVDs which while at Donnell had to be requested in advance from 
Media Center staff as well as the entire collection of 16mm films can be 
accessed from the Reserve Film and Video Collection at the Library for the 
Performing Arts.  This department is staffed by media specialists from Donnell 
and we still supply reference services, a private screening room, video and 
DVD playback and allow the majority of these materials to be borrowed for home 
use with a library card.  If there are any questions regarding access to these 
materials, their transfer from Donnell or their future within The New York 
Public Library, please e-mail me at
 elenarossisn...@nypl.org 


Elena Rossi-Snook
Archivist
Reserve Film and Video Collection
The New York Public Library 
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Re: [Frameworks] ELEPHANTS AND FILM

[elizabeth mcmahon]

Sandy,
 
Seriously, is this what you're advocating, with homegrown ivory harvesting? 
Because this is how they get it. They hack their faces off. Oftentimes, since 
they are matriarchal groups of elephants, they end up leave orphans, who 
blessedly have no ivory, to fend for them selveselves. Thus, why I provided the 
link for the orphaned elephants and rhinos. Here it is again: 
http://www.sheldrickwildlifetrust.org/
 
 
I would like to implore everyone to educate themselves, and then others, on the 
gross depradations of all poaching in the wild (including bushmeat from 
endangered Western lowland gorillas), not just elephants, but also my personal 
favorites, rhinos (African western black rhinos are now extinct, as of a couple 
of years ago, and white - as all - rhinos are perilously threatened). 
http://www.nbcnews.com/id/45236688/ns/world_news-world_environmen


Just extrapolate how many hacked to death elephants and rhinos this pic 
represents. RIP, you poor creatures.


Sorry, but this is a subject very close to my heart, as well.

Elizabeth

 


 From: David Baker dbak...@hvc.rr.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Monday, March 18, 2013 10:20 PM
Subject: Re: [Frameworks] ELEPHANTS AND FILM
  

Sandy,

I agree with you.

(I don't have all the answers.
I just know my heart is breaking.)
I want filmmakers on this list to understand that this is happening right now.
I want people to take a look at the ways of these wondrous sentient animals
in the wild. And I want people to learn and think more deeply about what
these animals actually are.
Conceptually we human beings often hold a very superficial idea
about what something as interesting and complex and distant as an ELEPHANT is
or more importantly what ELEPHANTS really are.
Mostly we have a notion formed in our heads whether we realize it or not 
about something that lives in the zoo or at the circus
and that just isn't it.
If you could take a few minutes to read the information on ELEPHANT COGNITION
you might be amazed.
( I just had no idea...)
Or watch this whole film here:
Echo: An Elephant to Remember


http://video.pbs.org/video/1616077152/

Once people here do educate themselves, they can decide to do nothing or do 
something.
I will tell you that the more you learn the harder it is to do nothing.

I want us to figure out a way fast , to tell the Chinese to stop!


At very least please sign the petition Elizabeth McMahon brilliantly brought 
to us,


Sign here to voice your opposition to the ivory trade: 
https://secure3.convio.net/wcs/site/Advocacy?cmd=displaypage=UserActionid=539autologin=trueJServSessionIdr004=5o6l2lo511.app333a
 


The African Environmental Film Foundation
screened their film White Gold in Bangkok on March 3.

https://www.facebook.com/AEFFonline?ref=stream

My understanding is that they will be trying to do just what you suggest.
Arne Glimcher of the Pace Gallery is the chairman of the foundation, he says
they plan to show the film in Beijing, with a Mandarin narration,
in Hong Kong,Singapore,Thailand, Indonesia and Japan.


No question, here FILM and the fate of this animal are inextricably linked.


-DB





On Mar 18, 2013, at 5:36 PM, Sandra Maliga wrote:

This is tragic and infuriating.


Why can't anyone tell the Chinese people that elephants are threatened?  If 
elephants are extinct there will be NO MORE IVORY. Don't they have media in 
China? Get the word out. 


Why don't the Chinese import some elephants and start their own herd?  They 
could manage them carefully and eventually harvest ivory when the herd needs 
thinning. No matter the cost; demand for ivory will drive the price ever 
higher.  They could promote homegrown ivory as superior.


 Documentaries shown in the US and Europe make us feel bad but don't save 
animals.   How about showing some documentaries in China?  How about a 
message on every cell phone in China?  I'd give money for that.


- Sandy Maliga








On Mar 18, 2013, at 11:02 AM, David Baker dbak...@hvc.rr.com wrote:

Esteemed cohorts everyone,


What I really love besides Experimental Film are Elephants.
I LOVE all Elephants but especially those that live free in the wild.
I love the complexity of elephant societies.

Something amazing to read is:
http://en.wikipedia.org/wiki/Elephant_cognition

Something important to see is:
National Geographic - Battle For The Elephants (2013)

I hope everybody on this forum is aware of the horror that is happening to 
these animals right now, today.
More Elephants are being killed
than are being born. They are being wiped out, expunged from the earth.
The numbers of those massacred are crazy.
Last year 30,000 elephants were murdered.
The killing rate is accelerating. The New York Times describes it as a 
frenzy.
Horribly helicopters and machine guns do the job annihilating whole herds.
China is the problem.
The CHINESE demand the elephant's ivory tusks to make ludicrous carved

Re: [Frameworks] drugged

[elizabeth mcmahon]

Peyote Queen. Excellent suggestion. Now, again, this more druggy than trippy, 
but I'll defer to you so I'll throw it out anyways. Shirley Clarke's The 
Connection.

Elizabeth



 From: Andy Ditzler a...@andyditzler.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Sunday, February 10, 2013 11:38 PM
Subject: Re: [Frameworks] drugged
  

Hi Eric, 


Try:


John Hawkins, LSD Wall (1965) clay animation of a trip (with a dedication to 
his dealer!)
Storm De Hirsch, Peyote Queen (1965)
Eric Emerson's monologue sequence in reel 9 of Warhol's The Chelsea Girls is a 
tour de force, and reportedly was performed under the influence of LSD (though 
I don't know that he ever confirmed this). It certainly seems that way.  
Ben van Meter's beautiful film S.F. Trips Festival. 
Robert Cowan's Rockflow (1967) isn't representational of a trip, but does have 
trippy movement and imagery - it's a delight.  
There are clips floating around of a film called Syd Barrett's First Trip.


Andy Ditzler


On Sat, Feb 9, 2013 at 2:40 PM, Eric Theise ericthe...@gmail.com wrote:

Hello Frameworkers,

I'm hoping to get suggestions for studying the tropes of the trip,
that is to say, the way hallucinatory and other drug experiences have
been portrayed on-screen.  Flashy, over-the-top visual signifiers are
what I seek, but Frameworks excels at identifying examples that aren't
what the original poster had in mind, so please go to it!

Examples will be put to experimental purposes, but can come from any
genre, thanks in advance.

Hope all of you affected by the Nemo storm are okay and able to find
beauty in it.

--Eric
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Re: [Frameworks] drugged

[elizabeth mcmahon]

I'd also suggest consulting the catalog of the National Library of Medicine. 
They have archivally rich resources in moving images. Also, there's the New 
York Academy of Medicine's library, it too having awesome holdings.

Elizabeth McMahon



 From: Tom Whiteside tom.whites...@duke.edu
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Saturday, February 9, 2013 3:15 PM
Subject: Re: [Frameworks] drugged
  
Check with Skip Elsheimer of AV Geeks.

    - Tom

-Original Message-
From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of 
Eric Theise
Sent: Saturday, February 09, 2013 2:41 PM
To: Experimental Film Discussion List
Subject: [Frameworks] drugged

Hello Frameworkers,

I'm hoping to get suggestions for studying the tropes of the trip, that is to 
say, the way hallucinatory and other drug experiences have been portrayed 
on-screen.  Flashy, over-the-top visual signifiers are what I seek, but 
Frameworks excels at identifying examples that aren't what the original poster 
had in mind, so please go to it!

Examples will be put to experimental purposes, but can come from any genre, 
thanks in advance.

Hope all of you affected by the Nemo storm are okay and able to find beauty in 
it.

--Eric
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Re: [Frameworks] drugged

[elizabeth mcmahon]

Well, if you're going to reference Red Shoes you have to proffer the 
requisite Fantasia. Ultimate druggie film. But Tom wants industrials. But 
this is fun anyways. I'd love to see this thread just suggest any druggie film. 
Head was a most excellent suggestion.

Elizabeth



 From: Emile Tobenfeld (a.k.a Dr. T) em...@foryourhead.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Saturday, February 9, 2013 4:23 PM
Subject: Re: [Frameworks] drugged
  
Zabriskie Point  I'm sure Antonioni was partaking at the time.

The Red Shoes is from the 40's and has no overtly drug related 
content, but it is one of the most psychedelic films I've ever seen.



At 11:40 AM -0800 2/9/13, Eric Theise wrote:
Hello Frameworkers,

I'm hoping to get suggestions for studying the tropes of the trip,
that is to say, the way hallucinatory and other drug experiences have
been portrayed on-screen.  Flashy, over-the-top visual signifiers are
what I seek, but Frameworks excels at identifying examples that aren't
what the original poster had in mind, so please go to it!

Examples will be put to experimental purposes, but can come from any
genre, thanks in advance.

Hope all of you affected by the Nemo storm are okay and able to find
beauty in it.

--Eric
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-- 
-- Emile

If you can walk, you can surely DANCE

My photography can be viewed at 
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My videos can be viewed at http://www.youtube.com/Tobenfeld



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Re: [Frameworks] drugged

[elizabeth mcmahon]

Lord Love a Duck was another film where the makers and players just had to be 
incredibly altered. The film does allude to drug use, to make this 
recommendation salient.

Elizabeth



 From: elizabeth mcmahon elizmcma...@yahoo.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Saturday, February 9, 2013 4:42 PM
Subject: Re: [Frameworks] drugged
  

Well, if you're going to reference Red Shoes you have to proffer the 
requisite Fantasia. Ultimate druggie film. But Tom wants industrials. But 
this is fun anyways. I'd love to see this thread just suggest any druggie 
film. Head was a most excellent suggestion.

Elizabeth




 From: Emile Tobenfeld (a.k.a Dr. T) em...@foryourhead.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Saturday, February 9, 2013 4:23 PM
Subject: Re: [Frameworks] drugged
  
Zabriskie Point  I'm sure Antonioni was partaking at the time.

The Red Shoes is from the 40's and has no overtly drug
 related 
content, but it is one of the most psychedelic films I've ever seen.



At 11:40 AM -0800 2/9/13, Eric Theise wrote:
Hello Frameworkers,

I'm hoping to get suggestions for studying the tropes of the trip,
that is to say, the way hallucinatory and other drug experiences have
been portrayed on-screen.  Flashy, over-the-top visual signifiers are
what I seek, but Frameworks excels at identifying examples that aren't
what the original poster had in mind, so please go to it!

Examples will be put to experimental purposes, but can come from any
genre, thanks in advance.

Hope all of you affected by the Nemo storm are okay and able to find
beauty in it.

--Eric
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-- 
-- Emile

If you can walk, you can surely DANCE

My photography can be viewed at 
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My
 videos can be viewed at http://www.youtube.com/Tobenfeld



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Re: [Frameworks] Please help

[elizabeth mcmahon]

Adam,
 
You're obviously not aware of actual scams that seek to convince people that 
someone close to them is suddenly in serious economic straits, almost always 
while they are abroad and now stranded.
 
They are too numerous to list here; a simple search will provide a multiplicity 
of the variations on the theme. So, yes, I think your humor in the form of 
the sudden necessity of monetary assistance due to 
unforeseen circumstances indeed qualifies as one that could be believed by the 
more naive amongst us to be legitimate, and therefore, a hoax.
 
http://netprofitstoday.com/blog/email-scam-urgent-request-from-a-friend/
 
http://www.emailscammers.com/I-need-your-help.html
 
http://www.snopes.com/fraud/distress/family.asp
 
 
If you want to send humorous emails, to your own friends, be my guest by all 
means, but it is highly disrespectful to hijack what is considered as a 
professional forum for your own shits and giggles. It is things like this that 
make people want to unsubscribe, which I can't imagine is a result you'd want. 
So, like I first suggested, please start your own experimental humor hoax 
listserv, and leave Frameworks to those interested in following 
and participating on it for its intended use.

Thanks,

Elizabeth



 From: Adam Hyman a...@lafilmforum.org
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Wednesday, July 25, 2012 7:43 PM
Subject: Re: [Frameworks] Please help
  

Re: [Frameworks] Please help 
What?  A community includes humor; that is one of the things that makes it a 
community.  True, irony  sarcasm are often lost in email  on websites, and 
maybe you are being ironic or sarcastic in your reply (and the previous person 
with a similar note), but I strongly feel that it is OK to have one thread 
with some humor that goes on for a couple of days!  So, Elizabeth, Simonetta, 
and Fred, I personally disagree with you on this one.

And I think that this is in no way a hoax, since the original post wasn’t 
trying to “pull over” anything on anyone.  It was obviously a joke.
In a day or two this thread too will pass, and we can return to an email group 
consisting of nothing but deathly earnestness and seriousness.  

(And for a bit of insight as to why the original wasn’t a hoax – Kenneth Anger 
is still alive in corporeal form in Los Angeles.  And of course, the signature 
at the end for money was to David.   A parody of notes that all of you have 
seen.)

My two cents and best regards to all,

Adam

On 7/25/12 1:53 PM, elizabeth mcmahon elizmcma...@yahoo.com wrote:


I'm with Fred. Please cease and desist on Frameworks and if you must, set up 
your own experimental hoax humor listserv. 
 
Thanks,
Elizabeth


  From: Tim Halloran televis...@hotmail.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Cc: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
 Sent: Wednesday, July 25, 2012 2:50 PM
 Subject: Re: [Frameworks] Please help
 
 
Yawn. 

Sent from my iPhone

On Jul 25, 2012, at 10:56 AM, Alex alex.mccar...@gmail.com wrote:

 Fred, thank you for pointing out that this is a hoax. I have a rare 
 vitamin deficiency that affects some of my cognitive functions and my 
 ability to process visual information called Iron-y Blindness and you can 
 only imagine how difficult it is to be a fan of experimental films and 
 indeed engage in intellectual conversation in general without being able 
 to get jokes.
 
 So rare and made up is my illness that there are no foundations currently 
 funding research for a cure and I've had to start my own. So far no one 
 has been taking me seriously (which I find offensive because I am forced 
 by nature to always be serious) and I am left alone in this world 
 constantly writing out checks to bring Ken Anger back to corporeality.
 
 I'm glad to find someone willing to stand up for people like me and I was 
 wondering if you would interested in sending me a large sum of money so 
 that I may develop a sense of humor and stop falling victim to these 
 schoolyard bullies on the internet.
 
 Always,
 Alexander
 
 On Jul 25, 2012, at 1:15 PM, Fred Camper f...@fredcamper.com wrote:
 
 David,
 
 Perhaps I'm in the minority here, but I really dislike hoaxes that attempt
 humor on lists such as FrameWorks. First of all, some almost always take
 them seriously, as has apparently already happened at least once. Second,
 life is too short for such creativity. I trust I'm not the only one
 among the many hundreds on this list who do not appreciate seeing all
 these meaningless emails. Finally, this particular hoax seems to me to be
 insulting to the work of a genuinely great filmmaker. Hell, you even
 misspelled Crowley's first name.
 
 Fred Camper
 Chicago
  
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Re: [Frameworks] humorous experimental films

[elizabeth mcmahon]

Sour Death Balls (Jessica Yu) is hysterical. I don't know if it would 
technically qualify as experimental, but it is funny as hell. Same goes for 
FaerieFilm, by Eugene Salandra, which I think hews closer to being 
experimental, certainly impressive. An awesome experimental film classic 
Tango by Polish filmmaker Zbigniew Rybczynski, is well worth seeking out and 
will stay with you your lifetime. Timepiece by a young Jim Henson is amazing, 
silly, clever, touching and humorous as well.


Elizabeth

From: Walter Metz wm...@siu.edu
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Tuesday, May 22, 2012 11:09 PM
Subject: Re: [Frameworks] humorous experimental films


Dear Connie: 


Michael Snow's films are generally engaged in all sorts of shenanigans. When 
Hollis Frampton dies in front of the zooming camera, and refuses to stop to 
find out what's going on, that's pretty funny. However, the one that I like 
the best is This is the Title of This Film, which is a series of text title 
cards. There's one great joke in there about This not being a film for people 
who don't like others reading over their shoulders. I like your project about 
humor in experimental cinema very much; I've often thought about this as an 
understudied aspect of this mode of cinema.


Take care,


Walter.

Dr. Walter C. Metz, Professor and Chair
Department of Cinema and Photography
Mail Code 6610
Southern Illinois University
1100 Lincoln Dr.
Carbondale, IL 62901
Office Phone: (618) 453-5087
E-mail: wm...@siu.edu
Website: http://waltermetz.com/





On Tue, May 22, 2012 at 9:56 PM, C Colvin quirkys...@hotmail.com wrote:

Framerworkers!

I'd love to pick your brains.  I'm interested to watch more ( learn more 
about) experimental films that are humorous.  Either through physical comedy, 
sly wordplay/visual combinations, hilarious imagery or anything that has hit 
your funny bone... I'd love to hear your recommendations.  I prefer shorts 
(less than 20min), but am equally excited about funny moments/scenes in 
feature length experimental works as well.

Thanks so much!
Connie Colvin


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-- 



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[Frameworks] Movie Studios Are Forcing Hollywood to Abandon 35 mm Film

[elizabeth mcmahon]

 But the Consequences of Going Digital Are Vast, and Troubling
 
 http://www.laweekly.com/2012-04-12/film-tv/35-mm-film-digital-Hollywood/


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Re: [Frameworks] Architecture in Film

[elizabeth mcmahon]

Oh, good one!! 
 
Then another is Willard Van Dyke and Clarke's Skyscraper, one of my all time 
favorites. Brilliant cinematography, amazing soundtrack.

Elizabeth

From: C Keefer kee...@earthlink.net
To: frameworks@jonasmekasfilms.com 
Sent: Friday, March 23, 2012 2:42 PM
Subject: Re: [Frameworks] Architecture in Film

  
Shirley Clarke, Bridges Go Round


Cindy Keefer
Center for Visual Music
www.centerforvisualmusic.org
CVM email:  cvmaccess (at) gmail.com
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Re: [Frameworks] Architecture in Film

[elizabeth mcmahon]

Lance,
 
Any number of films come to mind:
 
Manny Kirchheimer's films Claw: A Fable  and Tall: The American Skyscraper 
and Louis Sullivan
 
Any number of Michael Blackwood documentaries 
http://www.michaelblackwoodproductions.com/
 
Southern Images and Manhattan Quartet by Richard Protovin and Franklin 
Backus
 
Ruckus Manhattan by Red Grooms
 
Organism by Hilary Harris
 
A Wonderful Construction on the building of the World Trade Center. Preserved 
by NYPL.
 
There's the great documentary Architecture of Doom, too.
 
I'd contact AIA, they have an amazing library!: 
http://www.aia.org/about_contact/index.htm
 
This is merely the tip of the huge iceberg.

Elizabeth McMahon

 
From: lance w lwakel...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Thursday, March 22, 2012 1:39 PM
Subject: [Frameworks] Architecture in Film


Hello, 


I'm looking for examples of architecture in film. Thinking about Alexander 
Kluge's Brutality in Stone (http://www.ubu.com/film/kluge_brutality.html). 


Do you have suggestions?


Thanks,
Lance 
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Re: [Frameworks] Seeking Mental Health-themed Work

[elizabeth mcmahon]

Check out Mental Hygiene: Classroom Films 1945 - 1970 for a starting off point. 
Lots of fun to go through. 
http://www.amazon.com/Mental-Hygiene-Through-Classroom-1945-1970/dp/0922233217/ref=sr_1_1?ie=UTF8qid=1330404179sr=8-1


Elizabeth McMahon

 
From: Ken Paul Rosenthal kenpaulrosent...@hotmail.com
To: Frameworks Postings frameworks@jonasmekasfilms.com 
Sent: Monday, February 27, 2012 10:28 PM
Subject: [Frameworks] Seeking Mental Health-themed Work


I'm seeking mental health-themed experimental shorts (any length up to 20 
minutes) for Mad Dance: a new showcase for films  videos that explore radical 
visions for madness in a culture that pathologizes difference. Any and all 
suggestions welcomed, new or old. Please include the maker's name. Thanks so 
much...Ken 

www.crookedbeautythefilm.com  (Academic)
www.crookedbeauty.com  (Public)

www.kenpaulrosenthal.com
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Re: [Frameworks] canyon in the news (bad news dept)

[elizabeth mcmahon]

Along those longs, of which Patricia bespeaks, my beloved, internationally 
treasured and cherished library, Donnell Library Center, home of Donnell Media 
Center, was sold to become a generic, Midtown high end hooker hotel. After 
serving the NYC citizenry with pride, efficiency, affection and a modicum of 
artistry for 52 years.
 
(Yes, I know it's the Post, don't hate me, just read): 
http://www.nypost.com/p/news/opinion/opedcolumnists/banishing_the_books_oDxySVxpjFR0raBsUeNQEP
 
How to ruin a world class cultural institution:
 
http://www.thenation.com/article/164881/upheaval-new-york-public-
 
Don't believe the original propaganda, still being propagated. The plan's gone 
from 11 stories to 44. Woops!! Does the community have a say? Have they ever? 
Nope! The Donnell library had been 88,000 sq. feet; it will be scaled to less 
than 20, if it even ever materializes. Anyone following the handling of the 
property since the credit market collapse will note with some interest that the 
incorporation of a novel library, to which it had been regularly referred in 
real property trades and business pages, is mentioned less and less:
 
http://cityroom.blogs.nytimes.com/2008/05/29/confusion-at-the-closing-of-donnell-library/
 
Could go on, but it would merely be an iteration of what Patricia has already 
stated so fluently.
 
Elizabeth
Supervising Librarian and 
Formerly of Donnell Media Center, The New York Public Library
RIP

From: Patricia R. Zimmermann pa...@ithaca.edu
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com; 
f...@fredcamper.com 
Sent: Monday, February 20, 2012 12:26 AM
Subject: Re: [Frameworks] canyon in the news (bad news dept)


A small point along the lines of political economy, as per David:

The decline of cinema on celluloid is dwarfed by the crisis and catastrophe of 
the massive cuts to higher education, its humanities, its arts, its 
professorial jobs, and all ideas and practices that are not instruments 
advancing transnational capital. 

PRZ 

---
Patricia R. Zimmermann, Ph.D.
Professor, Cinema, Photography and Media Arts
Roy H. Park School of Communications
Codirector, Finger Lakes Environmental Film Festival
953 Danby Road
Ithaca College
Ithaca, New York 14850 USA
Office: +1 (607) 274 3431
FAX: +1 (607) 274 7078
http://faculty.ithaca.edu/patty/
http://www.ithaca.edu/fleff
BLOG: http://www.ithaca.edu/fleff10/blogs/open_spaces/
pa...@ithaca.edu


 Original message 
Date: Mon, 20 Feb 2012 00:06:33 -0500
From: frameworks-boun...@jonasmekasfilms.com (on behalf of David Tetzlaff 
djte...@gmail.com)
Subject: Re: [Frameworks] canyon in the news (bad news dept)  
To: f...@fredcamper.com,Experimental Film Discussion List 
frameworks@jonasmekasfilms.com

 There are people who try to show film on film and can't, and
 there are some who succeed.

I did show film on film, not exclusively, but to the best I could manage.

 But even when you can't, you can talk about
 how the film shown on film actually looks,

Of course, I did that.

 and recommend screenings if
 there are any in your locale,

There aren't any screenings in my locale, but many of my students spent time 
in NYC and I strongly encouraged them to visit Anthology.

 in the same way that a good art history teacher (of whom there are all too 
 few) showing slides would talk about
 what some of the art works actually look like.

We ought to give a lot more thought to this analogy. No one would accuse any 
art history professor showing slides of somehow violating the essence of the 
art-form under study.

 Yet, at present, many do manage to keep their projectors going. And there 
 are still a lot of prints around.

I think you are missing the point, which is about the critical mass needed to 
maintain an institution such as Canyon.

 You seem to be appealing to some form of majority rules -- not enough 
 care about film on film, so it will die out. 

I'm not appealing to anything. I'm trying to construct an economic analysis 
of the viability of business models for experimental film distribution in the 
21st century. I'm not saying 'the majority should rule,' or making any 
proposition of policy. I'm saying that revenues have to come from somewhere, 
and there just aren't enough paying customers to keep the system going.

 Maybe you're right. Or maybe a few of us will manage to keep it alive, for 
 some decades into the future. Who appointed you to write its obituary?

How is it not clear that _I_ want print projection to be an available option 
for as many people as possible for as long as possible? Why do you think I 
take the time to write this shit and give straight answers to Scott's query?

As for 'writing film's obituary,' well that's too much to bite off in this 
post, so I'll have to defer that for later.

 That you profess to care very little for the artist's intentions as to
 how a work should be shown leaves me speechless.

To be clear, I care very little about the artist's intent ABOUT 

Re: [Frameworks] Kodak's newest V3 50D now available to UltraPan8 filmmakers.

[elizabeth mcmahon]

http://www.nytimes.com/2012/02/10/business/kodak-says-it-will-stop-making-digital-cameras.html
Elizabeth

From: Nicholas Kovats nkov...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com 
Sent: Friday, February 10, 2012 1:43 PM
Subject: [Frameworks] Kodak's newest V3 50D now available to UltraPan8 
filmmakers.

Serendipity.

Kodak announces a refocus to their core competency aka film and my
reperforated Vision 3 50D UP8 stock arrives the same day.

Specifically Mr Edward Nowill has reperforated Kodak's newest single
perf 16mm stock (1R-2994) specifically for Bolex UltraPan8 cameras.

Remember that the Ultrapan8 format, i.e.

1.) Utilizes the full 16mm width of R8 film (2R-1497) with R8 pulldown
producing an aspect ratio = 2.8:1.
2.) Relative to 16mm magazines UP8 doubles shooting time, i.e. there
are 80x UP8 frames per 16mm foot instead of 40 standard 16mm frames.
3.) UP8 is a native spherical format that utilizes standard 16mm
c-mount optics. No re-centering required.
4.) The UP8 also has a native viewfinder with a Cinemascope mask (2.4:1).
5.) A scanned example = http://vimeo.com/27492482

A big thanks to Richard Tuohy of Nano Labs in Australia for suggesting
we try using Mr. Nowill's 2nd industrial machine dedicated
specifically to perforating sheet film. And reminding me of UP8's
fundamental design criteria using R8 film (2R-1497) whereby the UP8
pulldown ONLY utilizes the B-Wind perf for pulldown (right side). The
A-Wind (left side) is not used.

Edward agreed to the test noting that his machine would not be using
the stock factory single perf as a reference. It would punch 2 new
left and right perfs per UP8 frame. Every 2nd left side perf would
overlap the standard 16mm single perf. The end result being that the
UP8 pulldown would ignore both of the redundant A -Wind (left side)
perfs (1st perf = single perf 16mm + 2nd perf R8 = 1R-1497 R8 per 16mm
frame).

I have attached a quick photo illustrating the perfs from the film
backing perspective with the emulsion hidden from view. This
reperforated film has the correct orientation regarding B-Wind and the
emulsion. I have also attached a photo with the emulsion facing my
camera.

As the former single perf 16mm perf (1R-2994) has ended up being
punched twice, first by Kodak and then second by Norwill, this special
stock is not usable by the global Regular 8 user base. The attached
photo may not have sufficient clarity to illustrate the non-usability
of the A-Wind (left side) perfs.

Kodak originally donated the 800 FT of V3 50D stock which is to be
rolled down into 100FT rolls. Each of the five current UP8 camera
users will be receiving 100 FT. I am going to reserve one 100FT roll
as a dummy to test the threading path.

Edward charged a modest 40 GBP for the 800FT of film. I am working on
reducing or eliminating the expensive shipping costs to the UK by
sourcing single perf 16mm stock locally in Europe.

Stay tuned for posted scan results.

Nicholas

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Re: [Frameworks] J. Hoberman Fired

[elizabeth mcmahon]

This is a more expansive article on Hoberman's firing: 
http://www.indiewire.com/article/264fda20-3734-11e1-97b6-123138165f92


Elizabeth



From: elizabeth mcmahon elizmcma...@yahoo.com
To: Experimental Discussion List frameworks@jonasmekasfilms.com 
Sent: Thursday, January 5, 2012 6:15 AM
Subject: J. Hoberman Fired


http://nymag.com/daily/intel/2012/01/village-voice-lays-off-film-critic-j-hoberman.html
 
This is awful news. The Village Voice is officially not worth reading anymore. 
The paper no longer bears any vestige of its' long and glorious heritage.
 
 

Elizabeth McMahon

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Re: [Frameworks] Research: use of archive footage in experimental film and video art

[elizabeth mcmahon]

Anna is brand new to this listserv. I would hope that the community could be 
welcoming to her. So it gets discussed again; what is the harm? Not all that is 
available was necessarily discussed in the past. Let's play nice. 


Elizabeth
 
 You see, I don't believe that libraries should be drab places where people 
sit in silence, and that's been the main reason for our policy of employing 
wild animals as librarians.
--Monty Python




From: Francisco Torres fjtorre...@gmail.com
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Sent: Thursday, November 17, 2011 2:29 PM
Subject: Re: [Frameworks] Research: use of archive footage in experimental 
film and video art




This subject has been discussed here before in great detail. Please do a 
search.

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Re: [Frameworks] Congrats Penny Lane and Brian Frye

[elizabeth mcmahon]

Yes, I too am in full agreement! Congratulations to the nuptialed dynamic duo! 
Bravo! Work for that MacArthur Genius grant next!!


Elizabeth
 
 You see, I don't believe that libraries should be drab places where people 
sit in silence, and that's been the main reason for our policy of employing 
wild animals as librarians.
--Monty Python




From: Christian Bruno honeyhou...@hotmail.com
To: frameworks@jonasmekasfilms.com
Sent: Thursday, October 13, 2011 2:42 PM
Subject: [Frameworks] Congrats Penny Lane and Brian Frye



I was excited to see our colleagues Brian Frye and Penny Lane among the 
winners of this year's Cinereach grant.  


Congratulations are in full order!
www.indiewire.com/article/cinereach_grants_35_to_deserving_doc_narrative_and_hybrid_projects/#


best
Christian
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Re: [Frameworks] Dance films

[elizabeth mcmahon]

I haven't seen Elliot Caplan mentioned by anyone yet. He has made some amazing 
dance for the camera films! http://picturestartfilms.com/elliotCaplan.htm My 
personal fave is Beach Birds For Camera.
Elizabeth
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