[Frameworks] Anthony McCall in conversation, Yale Center for British Art, 23 Oct

[Eric Theise]

Thought to share this online event with you Frameworkers. Anthony McCall
will be in conversation with Courtney J. Martin, director of the Yale
Center for British Art, on Fri 23 Oct at 5p Eastern. More here:

https://britishart.yale.edu/exhibitions-programs/home-artists-conversation-anthony-mccall
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Re: [Frameworks] optical soundtrack generator?

[Eric Theise]

Interesting thread.

Scott (Stark), the Kapotski "Optical Sound generator" you launched the
thread with (http://www.kapotski.be/wp/?p=204) looks to be a simple circuit
that maps values of light-to-dark to frequency. A bit like a theremin but
for light instead of proximity.

(When I was a kid I built circuits like that from scratch using electronic
components (Chicago alert: probably purchased from Allied Electronics on
Western Av (https://chicagology.com/silentmovies/alliedradio/)). I remember
being fascinated by the "electric eye" that opened the doors of a grocery
store on Foster Av, just east of Damen.)

Sandy McLennan's recommendation of Matt McWilliams' soundtrack.optical
looks promising. It doesn't seem as if it's under heavy development  – only
one code commit this year, from January – but it seems quite far along in
its functionality. You say you're unfamiliar with Processing; it's an
environment developed in Java that was designed to be artist-friendly. Been
around for nearly 20 years and it's well-documented and has an active user
base. Roughly speaking, programs are called sketches and the environment
compiles these sketches before displaying results. It's easy to get started
with, there are many tutorials, and McWilliams directs you to one (
https://github.com/processing/processing/wiki/How-to-Install-a-Contributed-Library).
The software I initially used to do the frame-by-frame analysis of the
colors in your To Love or To Die was adapted from a Processing sketch. Even
if you end up not using soundtrack.optical you'd benefit from studying the
code to see what it's doing.

I ended up writing a Python program to analyze To Love or To Die; Python is
best suited to your desire to use a scripting language. I used OpenCV
because I was doing cluster analysis on video attributes but a quick search
suggests that Python libraries like pyAudioAnalysis (
https://github.com/tyiannak/pyAudioAnalysis/) or scikit-sound (
http://work.thaslwanter.at/sksound/html/) would be relevant – or overkill –
to the audio import and analysis aspects of your project. One of Python's
SVG writers, or something in Matplotlib, might be appropriate in generating
your output although, again, they might be overkill.

Personally, I'd start by installing soundtrack.optical and scaling its
output for use with 35mm frames.

Eric


On Thu, Sep 10, 2020 at 8:53 AM  wrote:

> Thank you all for the suggestions of generating an optical track from an
> audio source. I like the idea of finding an optical sound camera (I do have
> a 16mm Auricon that would do this for 16mm, not 35). And the digital angle
> from sixteenmillimeter.com or Scott D’s suggestion sound interesting if a
> bit daunting (I’ve no experience with Processing). Anyway I’ll keep the
> list posted of any progress.
>
>
>
> Scott Stark
>
> www.scottstark.com
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Re: [Frameworks] books on animation theory?

[Eric Theise]

Francisco, Ceciia, others,

I decided to trace my steps back to what led to my interest in the late
Hannah Frank's "Frame by Frame: A Materialist Aesthetics of Animated
Cartoons". It was J. Hoberman's review in Artforum, Sept 2019, which I read
in print and to which I don't have access online though it's here if you do:

https://www.artforum.com/print/201907/j-hoberman-on-hannah-frank-s-frame-by-frame-a-materialist-aesthetics-of-animated-cartoons-80518

Turns out her book's available for free in several download formats.
https://luminosoa.org/site/books/m/10.1525/luminos.65/

I am going to try and read through it in the next couple of weeks so if
anyone's interested in discussing it, please be in touch.

Eric


On Sun, Aug 16, 2020 at 11:03 Francisco Torres  wrote:

> when i was in film school it used to bother me that in most film
>
> theory books animation was not even mentioned, as if it did not exist
>
> or as if it was not part of cinema at all. then i thought that all of
>
> cinema is animation, the camera breaks down the image into frames,
>
> then the projector screens it giving the illusion of continuity. so
>
> all film theory is abour animation.
>
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Re: [Frameworks] books on animation theory?

[Eric Theise]

Hi Cecilia,

Your question prompted me to finally look at Light Industry's "bookshop",
which has a section on animation. Most of the titles are of the type you're
not seeking but a few might qualify.

https://bookshop.org/lists/animation

Paul Taberham comes at animation through cognition and might have some
recommendations; friendly and helpful fellow, contact him.

https://paultaberham.academia.edu/research

I've been meaning to read "Frame by Frame: A Materialist Aesthetics of
Animated Cartoons" by
Hannah Frank. If you or anyone else are interested maybe a Zoom reading
group would provide discipline and camaraderie.

Eric


On Sun, Aug 9, 2020 at 9:06 AM Cecilia Dougherty <
cecilia.doughe...@gmail.com> wrote:

> I'm looking for books on animation theory, not about animation how-to or
> history of, but articles, anthologies, texts that discuss theories of
> animation. Any suggestions of titles?
> Thank you!
> Cecilia Dougherty
>
> --
> Cecilia Dougherty
> https://www.ceciliadougherty.com/ 
> https://drift.ceciliadougherty.com/ 
> https://paleolithic.ceciliadougherty.com/
> 
>
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Re: [Frameworks] what 16mm stocks are you shooting & where are you getting them?

[Eric Theise]

Thank you Dominic, Andrew, & Sandy.

An April blog post by Timoleon Wilkins on the subject of stocks showed up
on my radar this afternoon.

http://www.timoleonwilkins.net/2020/04/two-minds-about-kodaks-new-ektachrome.html

Eric


On Thu, Jul 2, 2020 at 4:51 PM Sandy McLennan  wrote:

> 3383 direct from Kodak 8 cents a foot (US$506 for 6000', which is minimum
> order) so pool up or re-sell. They had a standard $20 shipping fee to
> Canada. You can shoot in camera or use it for printing.
>
> Kodak price list as of January 2020:
> https://www.kodak.com/uploadedFiles/Motion/Products/Product_Information/Kodak-Motion-Picture-Products-Price-Catalog-US-Prices.pdf
>
> Sandy McLennan
> Port Sydney, Ontario, Canada
>
>
> On Thu, Jul 2, 2020 at 5:53 PM Eric Theise  wrote:
>
>> Hi everyone,
>>
>> Writing from San Francisco where, once upon a time, one could walk into
>> Action Camera (RIP ~2013) or Adolph Gasser's (RIP 2017) and walk out with a
>> 100 ft spool of camera stock. In recent years I've been digging old stocks
>> out of my fridge to shoot but I'm wondering what're the most economical
>> options for acquiring fresh film these days?
>>
>> Film Photography Project (https://filmphotographyproject.com/) certainly
>> ranks high in Google searches.
>>
>> & what 16mm stocks are you enthusiastic about these days?
>>
>> Thanks, Eric
>>
>> ___
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[Frameworks] what 16mm stocks are you shooting & where are you getting them?

[Eric Theise]

Hi everyone,

Writing from San Francisco where, once upon a time, one could walk into
Action Camera (RIP ~2013) or Adolph Gasser's (RIP 2017) and walk out with a
100 ft spool of camera stock. In recent years I've been digging old stocks
out of my fridge to shoot but I'm wondering what're the most economical
options for acquiring fresh film these days?

Film Photography Project (https://filmphotographyproject.com/) certainly
ranks high in Google searches.

& what 16mm stocks are you enthusiastic about these days?

Thanks, Eric
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Re: [Frameworks] Luther Price RIP

[Eric Theise]

Tom Rhoads, wasn't it? First time I encountered his films that was the name
under which they were distributed.


On Tue, Jun 16, 2020 at 12:36 PM Dominic Angerame <
dominic.anger...@gmail.com> wrote:

> The prints that are at Canyon Cinema SODOM, GREEN and WARM BROTH may be
> the only copies. He also used the name Jason Rhoades.
> Dominic
>
>
>
>
> On Jun 16, 2020, at 12:25 PM, Dan Anderson  wrote:
>
> One of the most mysterious figures in the business. As the legend goes, he
> had a pseudonym or two (?)
> Hopefully his works get preserved and written about more. Truly on the
> radical edge of avant-garde film.
>
>
> On Tue, Jun 16, 2020 at 1:48 PM Dominic Angerame <
> dominic.anger...@gmail.com> wrote:
>
>> I am also sad to hear this news his work was very explosive I only knew
>> him thru my dealings with at Canyon Cinema
>>
>> On Tue, Jun 16, 2020 at 11:28 AM  wrote:
>>
>>> I'm very sorry to hear that.  The intensity of his work was profound, a
>>> revelation about what experimental film can be.
>>>
>>>
>>> On 2020-06-16 11:56, Warren Cockerham wrote:
>>> > One of the biggest hearts of any human
>>> >
>>> >> On Jun 16, 2020, at 10:57 AM, Esperanza Collado
>>> >>  wrote:
>>> >
>>> >> 
>>> >>
>>> >> Hi all,
>>> >>
>>> >> I just heard that Luther Price passed away but don't know the
>>> >> reason. I only met him once in 2017 in A Coruña and we had the most
>>> >> bizarre conversation in a jazz bar. Ed Halter was with him and took
>>> >> care of him, I don't know much more but I thought I would share
>>> >> here. There certainly was an aura of mystery around him.
>>> >>
>>> >> Best,
>>> >>
>>> >> --
>>> >>
>>> >> Esperanza Collado
>>> >> www.esperanzacollado.net [1]
>>> >> ___
>>> >> FrameWorks mailing list
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>>> >> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>> >
>>> >
>>> > Links:
>>> > --
>>> > [1] http://www.esperanzacollado.net
>>> > ___
>>> > FrameWorks mailing list
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>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
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>>>
>> ___
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>
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Re: [Frameworks] Nathaniel Dorsky Films

[Eric Theise]

Hello Makayla,

I caught news today of an gallery exhibit, "Nathaniel Dorsky: Film and Film
Stills", that's online at

https://www.peterblumgallery.com/viewing-room/nathaniel-dorsky

and I thought you and other Frameworkers might want to know about it.

Also.

I was fortunate and received one of the Interbay Cinema Society Lightpress
grants last year. One of the pieces I had scanned was Renga, a six minute,
twelve-filmmaker film that came together in a graduate seminar Nathaniel
Dorsky ran at the San Francisco Art Institute in the fall of 1989. You can
watch it directly from Vimeo at https://vimeo.com/314924883 or read about
and view it at https://erictheise.com/films/renga/

It contains some of Dorsky's footage and was strongly shaped by his
thinking at the time. (As an aside, Laura Poitras was in the seminar so
there's some of her footage in there, too.) I've sort of been shamed for
keeping Renga "alive" yet a friend is fond enough of the film that he
borrowed my print to screen at his 50th birthday celebration.

Worth a look if only because a twelve-maker collaboration is pretty unusual.

Thanks again Interbay Cinema Society and Lightpress.

Cheers, Eric


On Fri, May 29, 2020 at 5:27 PM Eric Theise  wrote:

> For Frameworkers not familiar with San Francisco, the gallery we're
> talking about has an important legacy. They represent many generations of
> Bay Area artists from Beat Generation through the Mission School to current
> times, and of note here they've exhibited Nathaniel Dorsky's stills, works
> by Bruce and Jean Conner, early drawings by Lynn Hershman Leeson, and
> Bull.Miletic to name a few.
>
> A short synopsis and historical artist roster here:
> https://en.wikipedia.org/wiki/Anglim_Gilbert_Gallery
>
> Have seen many great shows there, my favorite being one by photorealist
> Robert Bechtle. In addition to paintings it included spectacular charcoal
> (or maybe chalk?) drawings of Alameda on nearly black paper.
>
>
> On Fri, May 29, 2020 at 5:04 PM Dominic Angerame <
> dominic.anger...@gmail.com> wrote:
>
>> Ah! ok thanks Eric I stand corrected
>>
>> On Fri, May 29, 2020 at 4:46 PM Eric Theise  wrote:
>>
>>> No. Paule Anglim passed away, the gallery left its Geary St location and
>>> changed its name to reflect Ed Gilbert's running with the baton, but it
>>> continues to thrive at Minnesota Street Project in the Dogpatch District.
>>>
>>>
>>> On Fri, May 29, 2020 at 4:41 PM Dominic Angerame <
>>> dominic.anger...@gmail.com> wrote:
>>>
>>>> I believe that the Anglim Gallery is Kaput!
>>>>
>>>> d
>>>>
>>>> On May 29, 2020, at 3:45 PM, Makayla Caldwell 
>>>> wrote:
>>>>
>>>> thank you!
>>>>
>>>> On Fri, May 29, 2020 at 3:36 PM Eric Theise 
>>>> wrote:
>>>>
>>>>> And you'll find occasional tweets at https://twitter.com/ndorsky about
>>>>> new work, in-person appearances, and writings.
>>>>>
>>>>>
>>>>> On Fri, May 29, 2020 at 3:21 PM William Basquin <
>>>>> billbasq...@earthlink.net> wrote:
>>>>>
>>>>>>
>>>>>> Makayla,
>>>>>>
>>>>>> Here is Nathaniel Dorsky's page on the Canyon Cinema website:
>>>>>> http://canyoncinema.com/catalog/filmmaker/?i=95
>>>>>>
>>>>>> His artist website: http://nathanieldorsky.net/
>>>>>>
>>>>>> He's also represented by Anglim Gilbert Gallery:
>>>>>> https://anglimgilbertgallery.com/nathaniel-dorsky/#ms-293
>>>>>>
>>>>>>
>>>>>> -- Bill Basquin
>>>>>>
>>>>>> -Original Message-
>>>>>> From: Makayla Caldwell
>>>>>> Sent: May 29, 2020 2:50 PM
>>>>>> To: frameworks@jonasmekasfilms.com
>>>>>> Subject: [Frameworks] Nathaniel Dorsky Films
>>>>>>
>>>>>> Hi everyone,
>>>>>>
>>>>>> Today I stumbled upon the name of Nathaniel Dorsky. I have been able
>>>>>> to find many interviews, but no copies of his films (even for purchase).
>>>>>>
>>>>>> Can someone point me in the right direction?
>>>>>>
>>>>>> Thanks!
>>>>>>
>>>>>> Makayla
>>>>>>
>>>>>>
>>>>>>
>>>>>> From Inside of Here - world premiere
>>>>>> Monday, March 23, 2

Re: [Frameworks] Experimental films on photography

[Eric Theise]

Hello Albert,

I've seen a film by or about the late Robert Frank containing a scene where
he drills a hole through a hefty stack of photographic prints. My memory is
that the audience was audibly shaken at the destruction while I thought it
was kind of a bullshit move. With all due respect, Robert Frank, I hope you
paid your printer, let's talk after you've drilled a hole through your
*negatives*.

It's possible that the film I'm remembering was "True Story".
https://www.mfah.org/films/robert-frank-collection/

Eric

P.S. The last entry on that MFAH page is "Harry Smith at the Breslin Hotel
1984", finished 2017; have any Frameworkers seen that?


On Tue, Jun 9, 2020 at 3:06 AM Albert Alcoz  wrote:

> Hello all,
>
> I was making a list of experimental film practices on photography and I
> was wondering if you could suggest more titles.
>
> At first I wanted to focus just on movies where photographs are deleted
> (burned, destroyed) or denied but I only know *(nostalgia)* for Hollis
> Frampton and the project *Found Monochromes* by David Batchelor (slides).
> Does anyone know other films where the main purpose is the destruction or
> the invisibility of photographs?
>
> On the other hand I have started a list of films made from photographs.
> There are dozens of films (some of them animations) where the object of
> analysis are still images, from filmed Polaroids to appropriation of
> advertising images from magazines or the accumulation of digital images
> found on the internet:
>
> *Transformation by Holding Time* by Paul de Nooijer
> *Pasadena Freeway Stills* and *Hand Held Day* by Gary Beydler
> *Production Stills* by Morgan Fisher
> *Frank Film* by Frank Mouris
> *Boy Meets Girl* by Eugènia Balcells
> *Wall *by Takashi Ito
> *Photodiary *by Takashi Ito
> *Clandestine Porn Film* by Augustin Gimel
> *DIES IRAE* by Jean Gabriel Périot
> *The World as Will and Representation* de Roy Arden
>
> Do others come to mind?
>
> Thank you,
> Albert Alcoz
> --
> http://albertalcoz.com/
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Re: [Frameworks] 16mm Film Projector

[Eric Theise]

I'm going to take a cue from Dominic's comment about postage and ask where,
apart from "wasn't in NYC", are you Chris Rodriguez? Frameworks is an
international list and while plenty of its conversations have little
connection to the poster's location, discussions involving weighty
equipment or announcements of non-virtual screenings & workshops are tied
to place and should be made clear.

In this case people might have specific recommendations of where to look
for equipment and people/shops who could repair it if they know your area,
and might even have equipment in storage they'd be willing to unload.


On Sat, Jun 6, 2020 at 2:37 PM Chris Rodriguez 
wrote:

> How would I go about repairing it and/or figuring out what’s wrong with
> it?
>
> On Sat, Jun 6, 2020 at 5:35 PM Julian Antos 
> wrote:
>
>> FWIW an Eiki SSL or similar would seems to be the most likely to work
>> without issue even after sitting for many years.
>>
>> Elmos will have disintegrated rubber rollers, Pageants will almost
>> certainly have sound or motor problems, and Bell and Howells will have
>> cracked worm gears.
>>
>> This isn’t to say that you shouldn’t remove and clean all rollers and go
>> over the entire film path, but an Eiki that has been sitting is probably ok
>> and won’t need much work. Most likely the focus mechanism will have
>> disintegrated and on older machines the belts can also turn to goo.
>>
>> Still, these machines should be serviced regularly if they’re expected to
>> last. Running a projector with minor mechanical issues can damage your
>> films AND your projector.
>>
>>
>>
>> On Sat, Jun 6, 2020 at 4:27 PM Dominic Angerame <
>> dominic.anger...@gmail.com> wrote:
>>
>>> Seek and you will find. I have been able to purchase many in good
>>> working condition. Postage is a problem and trust little on Ebay…most have
>>> never used the one’s they are selling. I have acquired most of my equipment
>>> enough for two complete benches etc by constantly looking and carefully,
>>> very carefully looking on Ebay.
>>>
>>> Dominic
>>>
>>> > On Jun 6, 2020, at 2:13 PM, Scott Dorsey  wrote:
>>> >
>>> > The problem with those freebies is that they aren't free.  People get
>>> them,
>>> > they don't want to pay to have them cleaned and lubed before they use
>>> them,
>>> > and then they wreck the cams in an hour of using them dry.  Budget
>>> maybe
>>> > $200 to $300 to have a free projector put into condition to use.
>>> >
>>> > Please do not apply power to a projector that has been on the shelf for
>>> > decades.
>>> > --scott
>>> >
>>> > ___
>>> > FrameWorks mailing list
>>> > FrameWorks@jonasmekasfilms.com
>>> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>> --
>> Julian Antos
>> Chicago Film Society
>> www.chicagofilmsociety.org 
>> 773 827 8991 <(773)%20827-8991>
>>
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Re: [Frameworks] Nathaniel Dorsky Films

[Eric Theise]

For Frameworkers not familiar with San Francisco, the gallery we're talking
about has an important legacy. They represent many generations of Bay Area
artists from Beat Generation through the Mission School to current times,
and of note here they've exhibited Nathaniel Dorsky's stills, works by
Bruce and Jean Conner, early drawings by Lynn Hershman Leeson, and
Bull.Miletic to name a few.

A short synopsis and historical artist roster here:
https://en.wikipedia.org/wiki/Anglim_Gilbert_Gallery

Have seen many great shows there, my favorite being one by photorealist
Robert Bechtle. In addition to paintings it included spectacular charcoal
(or maybe chalk?) drawings of Alameda on nearly black paper.


On Fri, May 29, 2020 at 5:04 PM Dominic Angerame 
wrote:

> Ah! ok thanks Eric I stand corrected
>
> On Fri, May 29, 2020 at 4:46 PM Eric Theise  wrote:
>
>> No. Paule Anglim passed away, the gallery left its Geary St location and
>> changed its name to reflect Ed Gilbert's running with the baton, but it
>> continues to thrive at Minnesota Street Project in the Dogpatch District.
>>
>>
>> On Fri, May 29, 2020 at 4:41 PM Dominic Angerame <
>> dominic.anger...@gmail.com> wrote:
>>
>>> I believe that the Anglim Gallery is Kaput!
>>>
>>> d
>>>
>>> On May 29, 2020, at 3:45 PM, Makayla Caldwell 
>>> wrote:
>>>
>>> thank you!
>>>
>>> On Fri, May 29, 2020 at 3:36 PM Eric Theise 
>>> wrote:
>>>
>>>> And you'll find occasional tweets at https://twitter.com/ndorsky about
>>>> new work, in-person appearances, and writings.
>>>>
>>>>
>>>> On Fri, May 29, 2020 at 3:21 PM William Basquin <
>>>> billbasq...@earthlink.net> wrote:
>>>>
>>>>>
>>>>> Makayla,
>>>>>
>>>>> Here is Nathaniel Dorsky's page on the Canyon Cinema website:
>>>>> http://canyoncinema.com/catalog/filmmaker/?i=95
>>>>>
>>>>> His artist website: http://nathanieldorsky.net/
>>>>>
>>>>> He's also represented by Anglim Gilbert Gallery:
>>>>> https://anglimgilbertgallery.com/nathaniel-dorsky/#ms-293
>>>>>
>>>>>
>>>>> -- Bill Basquin
>>>>>
>>>>> -Original Message-
>>>>> From: Makayla Caldwell
>>>>> Sent: May 29, 2020 2:50 PM
>>>>> To: frameworks@jonasmekasfilms.com
>>>>> Subject: [Frameworks] Nathaniel Dorsky Films
>>>>>
>>>>> Hi everyone,
>>>>>
>>>>> Today I stumbled upon the name of Nathaniel Dorsky. I have been able
>>>>> to find many interviews, but no copies of his films (even for purchase).
>>>>>
>>>>> Can someone point me in the right direction?
>>>>>
>>>>> Thanks!
>>>>>
>>>>> Makayla
>>>>>
>>>>>
>>>>>
>>>>> From Inside of Here - world premiere
>>>>> Monday, March 23, 2020
>>>>> Museum of Modern Art
>>>>> New York, 
>>>>> NYhttps://www.moma.org/calendar/events/6558https://www.billbasquin.info/
>>>>>
>>>>>
>>>>>
>>>>> ___
>>>>> FrameWorks mailing list
>>>>> FrameWorks@jonasmekasfilms.com
>>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>>>
>>>> ___
>>>> FrameWorks mailing list
>>>> FrameWorks@jonasmekasfilms.com
>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>>
>>>
>>>
>>> --
>>> Makayla Caldwell
>>> 503.765.2415
>>> maka...@otfpdx.org
>>> ___
>>> FrameWorks mailing list
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>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>>>
>>> ___
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>>>
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Re: [Frameworks] Nathaniel Dorsky Films

[Eric Theise]

No. Paule Anglim passed away, the gallery left its Geary St location and
changed its name to reflect Ed Gilbert's running with the baton, but it
continues to thrive at Minnesota Street Project in the Dogpatch District.


On Fri, May 29, 2020 at 4:41 PM Dominic Angerame 
wrote:

> I believe that the Anglim Gallery is Kaput!
>
> d
>
> On May 29, 2020, at 3:45 PM, Makayla Caldwell  wrote:
>
> thank you!
>
> On Fri, May 29, 2020 at 3:36 PM Eric Theise  wrote:
>
>> And you'll find occasional tweets at https://twitter.com/ndorsky about
>> new work, in-person appearances, and writings.
>>
>>
>> On Fri, May 29, 2020 at 3:21 PM William Basquin <
>> billbasq...@earthlink.net> wrote:
>>
>>>
>>> Makayla,
>>>
>>> Here is Nathaniel Dorsky's page on the Canyon Cinema website:
>>> http://canyoncinema.com/catalog/filmmaker/?i=95
>>>
>>> His artist website: http://nathanieldorsky.net/
>>>
>>> He's also represented by Anglim Gilbert Gallery:
>>> https://anglimgilbertgallery.com/nathaniel-dorsky/#ms-293
>>>
>>>
>>> -- Bill Basquin
>>>
>>> -Original Message-
>>> From: Makayla Caldwell
>>> Sent: May 29, 2020 2:50 PM
>>> To: frameworks@jonasmekasfilms.com
>>> Subject: [Frameworks] Nathaniel Dorsky Films
>>>
>>> Hi everyone,
>>>
>>> Today I stumbled upon the name of Nathaniel Dorsky. I have been able to
>>> find many interviews, but no copies of his films (even for purchase).
>>>
>>> Can someone point me in the right direction?
>>>
>>> Thanks!
>>>
>>> Makayla
>>>
>>>
>>>
>>> From Inside of Here - world premiere
>>> Monday, March 23, 2020
>>> Museum of Modern Art
>>> New York, 
>>> NYhttps://www.moma.org/calendar/events/6558https://www.billbasquin.info/
>>>
>>>
>>>
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>
>
> --
> Makayla Caldwell
> 503.765.2415
> maka...@otfpdx.org
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
> ___
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> FrameWorks@jonasmekasfilms.com
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>
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Re: [Frameworks] Nathaniel Dorsky Films

[Eric Theise]

And you'll find occasional tweets at https://twitter.com/ndorsky about new
work, in-person appearances, and writings.


On Fri, May 29, 2020 at 3:21 PM William Basquin 
wrote:

>
> Makayla,
>
> Here is Nathaniel Dorsky's page on the Canyon Cinema website:
> http://canyoncinema.com/catalog/filmmaker/?i=95
>
> His artist website: http://nathanieldorsky.net/
>
> He's also represented by Anglim Gilbert Gallery:
> https://anglimgilbertgallery.com/nathaniel-dorsky/#ms-293
>
>
> -- Bill Basquin
>
> -Original Message-
> From: Makayla Caldwell
> Sent: May 29, 2020 2:50 PM
> To: frameworks@jonasmekasfilms.com
> Subject: [Frameworks] Nathaniel Dorsky Films
>
> Hi everyone,
>
> Today I stumbled upon the name of Nathaniel Dorsky. I have been able to
> find many interviews, but no copies of his films (even for purchase).
>
> Can someone point me in the right direction?
>
> Thanks!
>
> Makayla
>
>
>
> From Inside of Here - world premiere
> Monday, March 23, 2020
> Museum of Modern Art
> New York, 
> NYhttps://www.moma.org/calendar/events/6558https://www.billbasquin.info/
>
>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
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Re: [Frameworks] Looking to buy Bolex or similar

[Eric Theise]

Jason Halprin, didn't you tell me a few years ago that Dieter (aka
http://www.bolexusa.com/) was selling reconditioned Rex 5s? Or was that
only for the academic market?


On Sun, Apr 12, 2020 at 7:22 PM Eric Theise  wrote:

> Forgive me for not looking but have these equipment houses ever adjusted
> their prices or are they still acting as if  film is the only game in town?
> I'm thinking of the prices I used to see for gear up on the second floor at
> Adolph Gasser in San Francisco; already seemed absurdly out of touch in the
> mid-1990s. Or do they perform maintenance and repair of such quality that
> the prices are justified?
>
>
> On Sun, Apr 12, 2020 at 7:13 PM Jeff Kreines  wrote:
>
>> I think you mean DuAll. DuArt was a film lab famous for losing films in
>> their vaults.
>>
>> DuAll is recommended and in NYC.
>>
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>>
>> Sent from iPhone.
>>
>> > On Apr 12, 2020, at 7:29 PM, Scott Dorsey  wrote:
>> >
>> > You tried DuArt and B's used division?
>> > --scott
>> > ___
>> > FrameWorks mailing list
>> > FrameWorks@jonasmekasfilms.com
>> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>
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Re: [Frameworks] Looking to buy Bolex or similar

[Eric Theise]

Forgive me for not looking but have these equipment houses ever adjusted
their prices or are they still acting as if  film is the only game in town?
I'm thinking of the prices I used to see for gear up on the second floor at
Adolph Gasser in San Francisco; already seemed absurdly out of touch in the
mid-1990s. Or do they perform maintenance and repair of such quality that
the prices are justified?


On Sun, Apr 12, 2020 at 7:13 PM Jeff Kreines  wrote:

> I think you mean DuAll. DuArt was a film lab famous for losing films in
> their vaults.
>
> DuAll is recommended and in NYC.
>
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
>
> Sent from iPhone.
>
> > On Apr 12, 2020, at 7:29 PM, Scott Dorsey  wrote:
> >
> > You tried DuArt and B's used division?
> > --scott
> > ___
> > FrameWorks mailing list
> > FrameWorks@jonasmekasfilms.com
> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>
> ___
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> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
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[Frameworks] shapeshifters cinema (and brewery) indiegogo campaign

[Eric Theise]

Is it possible that news of Shapeshifters' new venue hasn't made it to
Frameworks? Shapeshifters Cinema has been presenting expanded cinema in the
San Francisco Bay Area since 2012. They used the Temescal Art Center in
North Oakland as a venue for many years but they've got their own space
now, have held screenings there since last fall, and are in the midst of an
Indiegogo campaign to do some serious buildout to improve the presentations
and to accommodate Gilbert's brewing.

If you donate at the $40 level or higher today you'll get an invitation to
a food/fllm/beer pairing on 15 February. There are also sticker and tote
bag levels and a couple of attractive "early bird" membership offerings
still available.

I can think of a few Frameworkers who've screened at Shapeshifters in the
past and this'd be an opportune time to show your support.

https://igg.me/at/shapeshifters/emal/14341843

Cheers, Eric
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Re: [Frameworks] Readings on alternative spaces for cinema?

[Eric Theise]

Hi Chris,

Some time ago Benjamin Taylor added three references tagged "microcinema"
to the Zotero library on experimental cinema.


https://www.zotero.org/groups/122679/experimental_cinema/items/q/microcinema

Weirdly there's one newer title tagged "microcinema" that shows up when
searching my personal copy of the library but not via the website and that
is


https://www.archivebooks.org/2018/12/20/film-in-the-present-tensewhy-cant-we-stop-talking-about-analogue-film/

I'd encourage you (and others) to contribute additional readings you find
to that library.

Eric


On Sun, Dec 15, 2019 at 6:05 PM 16mm Directory 
wrote:

>
>
> On Sun, Dec 15, 2019 at 5:51 PM Chris Freeman <
> christopherbriggsfree...@gmail.com> wrote:
>
>> Hello Frameworkers, I am looking for some help finding readings about
>> alternative spaces for cinema, microcinemas, artist-run spaces, warehouse
>> spaces, explorations of small DIY art communities, or maybe something about
>> how experimental art forms coexist with experimental spaces.
>>
>
>
> Incite Journal of Experimental Media
> Issue #4: Exhibition Guide
> Fall 2013
>
> -Alain
>
>
> --
>
> 16mm Directory / 40 Frames
> Portland, Oregon USA
>
> www.16mmdirectory.org
> www.40frames.org
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
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Re: [Frameworks] Maurice Maeterlinck - Death ,1911

[Eric Theise]

This?
https://www.worldofbooks.com/en-us/rare-books/maurice-maeterlinck/death/1557153922BJS


On Thu, Dec 12, 2019 at 10:20 AM fracto  wrote:

> I found it
> https://babel.hathitrust.org/cgi/ls?field1=ocr;q1=our%20eternity;a=srchls
> 
> Just type "Our Eternity" out.
>
> If someone can find a physical copy please let me know
> Best
> Giuseppe
>
> On Wed, 11 Dec 2019 at 00:34, fracto  wrote:
>
>> Only jpg
>> Giuseppe
>>
>> On Tue, 10 Dec 2019 at 19:17, brecht  wrote:
>>
>>> Is ebook ok? https://b-ok.cc/book/1550585/8a5450
>>>
>>>  Original message 
>>> From: giuseppe boccassini 
>>> Date: 12/10/19 18:46 (GMT+01:00)
>>> To: frameworks@jonasmekasfilms.com
>>> Subject: [Frameworks] Maurice Maeterlinck - Death ,1911
>>>
>>> Hey there Frameworkers,
>>>
>>> does anyone know places where I can get this book:
>>> *Maurice Maeterlinck - Death ,1911*
>>>
>>> It seems a bit controversial edition standing on what wikipedia says:
>>> *La Mort (Our Eternity ,first published in English, incomplete version
>>> entitled Death ,1911; in enlarged and complete version in original French,
>>> 1913)*
>>>
>>> Thank you
>>> Have a nice day
>>> Giuseppe
>>>
>>>
>>> --
>>> Giuseppe Boccassini
>>> *the tension to the invisible*
>>>
>>> filmmaker 
>>> lightcone 
>>> fracto
>>> 
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>>
>>
>> --
>> --
>> FRACTO Experimental Film Encounter
>> c/o Acud Macht Neu
>> Veteranenstraße 21
>> 10119 Berlin
>> www.fractofilm.com
>>
>>
>
> --
> --
> FRACTO Experimental Film Encounter
> c/o Acud Macht Neu
> Veteranenstraße 21
> 10119 Berlin
> www.fractofilm.com
>
> ___
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Re: [Frameworks] Original soundtrack recordings of Avant-Garde films

[Eric Theise]

Regrettably I don't know the films of Johan van der Keuken – "an
independent, leftwing filmmaker who is too experimental and formalist for
many political people and too politically pointed for many followers of the
avant-garde" it says here at
https://www.ejumpcut.org/archive/onlinessays/JC34folder/Vanderkeuken.html –
but I do know that Willem Breuker composed a number of soundtracks for him.
They are sprinkled across his and the Kollektief's discography but this
release is only film music:

https://www.discogs.com/Willem-Breuker-Johan-van-der-Keuken-Music-For-His-Films-1967-1994/release/2978692

This page might also be a fruitful resource:
https://www.willembreuker.com/category/music/film-scores/


On Mon, Dec 9, 2019 at 3:33 AM Felix Garcia  wrote:

>
> Arthur Cantrill ‎– Hootonics
> https://www.discogs.com/Arthur-Cantrill-Hootonics/release/5978335
>
> Arthur Cantrill ‎– Chromatic Mysteries: Soundtracks 1963 - 2009
>
> https://www.discogs.com/Arthur-Cantrill-Chromatic-Mysteries-Soundtracks-1963-2009/release/4565930
>
> all the best,
> Felix
>
> --
> *De:* FrameWorks  en nombre de
> Steve Polta 
> *Enviado:* lunes, 9 de diciembre de 2019 7:59
> *Para:* Experimental Film Discussion List 
> *Asunto:* Re: [Frameworks] Original soundtrack recordings of Avant-Garde
> films
>
> OK so it seems that this thread might be winding down but note that...
> 1) the label Global A released a number of Arthur Lipsett soundtracks on
> LP:
> https://www.discogs.com/fr/Arthur-Lipsett-Soundtracks/release/792458
> 2) Zap Cassettes released the soundtrack of Jodie Mack's *Dusty Stacks of
> Mom* on cassette:
> https://www.discogs.com/fr/Arthur-Lipsett-Soundtracks/release/792458
> 3) Zap Cassettes also (re)released the aforementioned *Craig Baldwin:
> Science in Action* and a few other quasi-cinematic releases including
> Jeffrery Perkins *Movies for the Blind *and recordings emanating from the
> Orgone Cinema Archives.
>
> Best,
>
> Steve Polta
>
> On Sat, Dec 7, 2019 at 2:43 PM Petri Kuljuntausta 
> wrote:
>
> This compilation CD contains soundtracks of experimental video works:
>
> V/A: MUU FOR EARS 4 (CD, 2010, 'soundtrack compilation')
>
> 1.Jakob Norgren – Music Box, 2:46. Video: Pasi Autio.
> 2.Juan Kasari – Gated Community 3, 5:29. Video: Juan Kasari.
> 3.Aleksi Keränen – Deconstruction, 3:03. Video: Mailis Saralehto Rekola.
> 4.Pauli Apollo Ahopelto – Lepo! 4:06. Video: Risto-Pekka Blom & Jouni
> Piiroinen.
> 5.Heidi Saramäki – Once upon a Time... 1:04. Video: Heidi Saramäki.
> 6.Petri Kuljuntausta – Water Cities, 5:02. Video: Jaana Puhakka.
> 7.Taito Kantomaa – Aircraft Blast, 1:28. Video: Marko Lampisuo.
> 8.Janne Jankeri – Grey, 3:57. Video: Minna Parkkinen.
> 9.Jussi Österman – The most Important Place, 2:13. Video: Tuomo Kangasmaa.
> 10.Jukka Rintamäki – Now There is only Heaven, 3:35. Video: Markus Åström.
> 11.Sebastian Lindberg – Platform, 4:16. Video: Sebastian Lindberg.
> 12.Pauli Apollo Ahopelto – The End (R.I.P) Ufo Charter, 6:04. Video:
> Pauli Apollo Ahopelto.
> 13.Sami Pennanen – Landscape no:2, 4:19. Video: Sami Pennanen.
>
> Producers: Rita Leppiniemi and Timo Soppela.
> Mastering by Petri Kuljuntausta.
> Released by Artist Association MUU, Helsinki.
> https://www.discogs.com/Various-Muu-For-Ears-4/release/2681531
>
> On Sun, Dec 8, 2019 at 12:17 AM Salah Hassanpour  wrote:
> >
> > Apologies if it’s been mentioned before (I took a quick glance at the
> reply thread) but Bobby Beausoleil made music for Kenneth Anger’s Lucifer
> Rising (1972). It’s quite compelling despite the musician’s, er, biography.
> >
> >
> >
> > Also, along the same “deep ambient” spectrum of music, Jefre
> Cantu-Ledesma used to work with late Paul Clipson and if I recall one of
> his more recent albums is a tribute to the latter.
> >
> >
> >
> > I would recommend using Discogs as a good database. Look at the labels
> associated with the soundtracks and try to see which version is available.
> Often, you might find unreleased cues/songs if you search for the most
> recent reissue.
> >
> >
> >
> > Salah Hassanpour
> >
> > From: mrktosc
> > Sent: December 7, 2019 17:09
> > To: Experimental Film Discussion List
> > Subject: Re: [Frameworks] Original soundtrack recordings of Avant-Garde
> films
> >
> >
> >
> > Gunvor Nelson made the My Name is Oona soundtrack herself with some
> input from Patrick Gleeson.  Steve Reich was not involved, but his work had
> inspired the piece and he was a friend of Gunvor’s at the time.
> >
> >
> >
> > I think a lot of this common misconception comes from the film’s end
> credit, “Tack Patrick Gleeson / Steve Reich”, but “tack” is “thanks” in
> Swedish.
> >
> >
> >
> > And I don’t believe it’s been released anywhere.
> >
> >
> >
> > Mark
> >
> >
> >
> >
> > On Dec 7, 2019, at 1:28 PM, Christine Downing <
> downing.christ...@gmail.com> wrote:
> >
> > Greetings,
> >
> > I don't know if this is on vinyl or CD, but Gunvor Nelson's film, "My
> Name is Oona," has a sound track by 

Re: [Frameworks] [HISPAM] Original soundtrack recordings of Avant-Garde films

[Eric Theise]

Birdsongs of the Mesozoic's improvised score to Michael Burlingame's 1986
film "To a Random" was released on a vinyl LP called "Soundtracks" and
later on their "The Fossil Record 1980-1987" CD.

https://www.discogs.com/Birdsongs-Of-The-Mesozoic-Erik-Lindgren-2-Pink-Inc-Soundtracks/release/2830469
https://www.discogs.com/Birdsongs-Of-The-Mesozoic-The-Fossil-Record-1980-1987/release/11985257

Roger Miller (founding member of Birdsongs and Mission of Burma) went on to
form Alloy Orchestra, well known for composing/performing new scores to
silent films. Some have been released on CD.

http://www.alloyorchestra.com/about/bio/

Miller is presently at work on "The Davis Square Symphony" – "a movie and
an orchestral score" – which uses his own footage and, from what I gather,
translates the recorded motions of vehicles and pedestrians to instruments
and pitches.

https://rogerclarkmiller.com/the-davis-square-symphony/

I imagine this will see some sort of release in 2020 alongside the Museum
show described at that linked page.

On Wed, Dec 4, 2019 at 9:22 PM Jim Flannery  wrote:

> Wednesday, December 4, 2019, 10:26:24 AM, one wrote:
>
> Brakhage:
>
> https://www.discogs.com/Architects-Office-Caswallon-The-Headhunter/release/428594
>
> (I think? Architects Office/Joel Haertling did a number of soundtracks
> for Brakhage but I've never seen the films of the "Caswallon Trilogy" to
> verify the relationship between the sounds on the LP and the tracks as
> used in the films.)
>
> Yervant Gianikan and Angela Ricci Lucchi:
>
> https://www.discogs.com/Keith-Ullrich-and-Charles-Anderson-From-the-Pole-to-the-Equator-Original-Motion-Picture-Soundtrack/release/13642137
>
>
> > I'm researching soundtracks of Avant-Garde films that have been
> > published on Vinyl, cassette or CD. It is not easy to find many cases
> > because generally the soundtracks are not original.
>
>
>
> --
> Best regards,
>  Jim Flannery
>  j...@newgrangemedia.com
>
>
>
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Re: [Frameworks] X-Ray motion-pictures

[Eric Theise]

Since Diana also asked for examples I'll chime in with the most obvious:
Barbara Hammer's Sanctus which reworked James Sibley Watson's archival
x-ray footage.

http://www.scienceandfilm.org/articles/2710/barbara-hammer-and-the-x-rays-of-james-sibley-watson


On Wed, Nov 20, 2019 at 8:26 AM alena williams  wrote:

> love this!
>
> > On 20. Nov 2019, at 07:53, Scott Dorsey  wrote:
> >
> > Okay, old guy tells stories.
> >
> >
> > Back in the twenties and thirties, doctors would employ open
> fluoroscopes,
> > with an X-ray source behind the patient and a fluorescent screen in front
> > of them.  X-rays passing through the patient would cause the screen to
> > illuminate and the doctor could see what was going on inside in realtime.
> >
> > Many of the old classic sequences that still show up in educational films
> > such as the man eating and man voicing different vowels and consonants,
> > were shot off the screen of an open fluoroscope.
> >
> > This approach has some problems namely it takes a lot of radiation to
> > get a nice bright image, and all of that radiation (not just the
> backscatter)
> > is pointed at the doctor.  So although you can see open fluoroscopes in
> old
> > movies where W.C. Fields has swallowed his cigar, you will not see them
> in
> > use today.
> >
> > Because doctors needed to see movement and didn't want to irradiate
> themselves
> > constantly, a number of manufacturers made cinefluoroscope systems with
> a
> > Mitchell or Acme 35mm pin-registered camera movement, a very fast lens,
> > and a fluorescent screen all in one package.  The high speed Leitz
> Noctilux
> > lenses were originally designed for these applications.
> >
> > These were in common use for heart imaging until maybe a decade ago, and
> > if you are looking for a film image you may be able to find cardiological
> > radiologists around with a film cineangography system.  These systems all
> > provide full aperture 35mm images.  So if you want 16mm you'd have to get
> > the lab to bump it down.
> >
> > All of these systems today have been replaced with high resolution video
> > systems.  The nice thing about the video systems is that they result in
> > less radiation to the patient because the light sensor is faster than
> Tri-X.
> > These systems are small and convenient enough that some cardiologists
> will
> > have their own system rather than contracting it out to a radiologist.
> > The bad thing about them is that they tend to have more smear on motion
> > than the film systems because of the longer persistence phosphors.
> >
> > Now... if you don't need to deal with human beings, you can pour a whole
> > lot more radiation into the object.  There are a bunch of fairly
> inexpensive
> > X-ray inspection systems for PC boards that give you realtime video with
> > decent resolution.  Not very high energy radiation since they just need
> to
> > be looking at thin board traces for the most part.
> >
> > So... if I were looking to rent some time on a machine, I would ask a
> > cardiologist if they could recommend a local radiology guy, or I would
> > talk to PC board fab people, depending on whether I was looking at people
> > or objects.  I have only done static x-rays, not moving ones, and there
> > aren't a lot of folks doing moving ones artistically today so it could be
> > really cool.
> > --scott
> >
> >
> > lens was originally designed
> >
> > ___
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> > FrameWorks@jonasmekasfilms.com
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[Frameworks] Fwd: Jorge González & Mónica Rodríguez, Cuando el maguey cae en un río; Miguel Calderón, On George Kuchar and Tropical Vultures; Summer of '19

[Eric Theise]

Frameworkers, if you happen to be in San Francisco on 21 Nov this ought to
be of interest.

Eric

-- Forwarded message -
From: KADIST San Francisco 
Date: Sat, Nov 2, 2019 at 11:00 AM
Subject: JMiguel Calderón, On George Kuchar and Tropical Vultures

KADIST Newsletter



*Miguel Calderón, On George Kuchar and Tropical Vultures
 with Julio
Morales, presented in collaboration with and at San Francisco Art Institute
(SFAI), Thursday, November 21, 6–8pm. *Ten years ago, underground film
legend George Kuchar and his then-student, Miguel Calderón, took a working
vacation to Acapulco, Mexico where they made two extraordinary films. On
the anniversary of their collaboration, Calderón reflects on both of these
films, followed by a conversation with Julio Morales. They present a
never-before-seen interview with Kuchar and the details of an unreleased
book on his life and work.
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Re: [Frameworks] Help with digitizing reel-to-reel tapes

[Eric Theise]

This suggestion has at least one strike against it for your situation (west
coast) but I'll again mention the Bay Area Video Coalition's Preservation
Access Program.

https://bavc.org/preserve-media/preservation-access-program

The application process opens twice a year and is relatively painless (they
require an inventory of your assets but you're going to want to do that
anyway). They have a long queue of work so, in my case, it was ten (more?)
months before my files were ready. But they have a wide range of
well-maintained equipment and well-trained, passionate staff in house, so
the care and quality is top notch.

They've done work for the Visual Studies Workshop collection recently and
didn't Tara Nelson post something on Frameworks about Morgan Morel, BAVC's
Preservation Manager, giving a workshop in Rochester quite recently?

Hope this info's useful to someone.

Eric


On Sat, Nov 2, 2019 at 10:52 AM Robert Withers 
wrote:

> Hello,
> I asked about this a couple years ago and somebody offered help/services.
> I have 24 7 inch reels and 12 5 inch reels of tape that need to be
> digitized, dating from the 1960s-1970s. Mostly some kind of stereo, 7 1/2
> ips, some 3 3/4.
>
> Can anyone offer this service or recommend a service to digitize these?
> I think some people at Harvestworks in NYC can do this — does anyone have
> a name?
>
> I’d like to work with folks in NYC so as not to get involved with shipping
> precious archival tapes.
>
> Many thanks,
> Robert
>
> Robert Withers
> withe...@earthlink.net
> 202 West 80 St #5W NYNY 10024
> 212-873-1353 land
> 212-203-3048 mobile
>
>
>
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Re: [Frameworks] touring "A Roll for Peter"

[Eric Theise]

Hey Frameworkers,

A Roll for Peter, the Peter Hutton tribute compilation that crisscrossed
North America during the first half of 2017, is on its way across the
Atlantic and will screen in Grenoble on 11 Oct at Le 102. I had little to
do with this; Joyce Lainé made it happen with an assist from Mark Street. I
have updated http://erictheise.com/films/a-roll-for-peter/ and
https://www.facebook.com/arollforpeter/ with the relevant info and wish I'd
known to tell you earlier about the multi-city, multi-day focus on Hutton
that went down at the end of September:
https://www.videodrome2.fr/focus-sur-peter-hutton/.

Eric


On Tue, Jan 24, 2017 at 3:16 PM Eric Theise  wrote:

> Another in my occasional updates about A Roll for Peter, the 16mm
> multi-maker Peter Hutton tribute project. A number of venues and dates have
> been added since my last email so here's the current list of upcoming
> screenings.
>
> 1 March: Lexington Film League at 21c, Lexington, KY
> 7 March: UWM Union Cinema, Milwaukee, WI
> 13 March: Aggregate Space Gallery, Oakland, CA
> 18 March: Echo Park Film Center, Los Angeles, CA
> 1 April: Other Cinema, San Francisco, CA
> 9 April: Hamilton College F.I.L.M. SERIES/Bradford Auditorium,
> Clinton, NY
> 13 April, NW Film Forum, Seattle, WA
> 23 April: Cellular Cinema/Bryant-Lake Bowl, Minneapolis, MN
> 29 April: Iris Film Collective, Vancouver, BC
> 5 May: Niagara Custom Lab, Toronto, ON
> 12 May: Visions, Montréal, QC
>
> For information about Saturday's screening at Atlanta's Eyedrum please
> call the venue at (678) 813-7860.
>
> That's today's snapshot. The best places to track updates to the tour are
> http://erictheise.com/films/a-roll-for-peter/ and
> https://www.facebook.com/arollforpeter/ (and why not Like it while you're
> there?).
>
> There are very few opportunities left for bookings in March, April, or
> May. If you run or know of a venue that would like to screen A Roll for
> Peter during the first three weeks of February, please be in touch, pronto.
>
> The first two screenings of 2017, at UNEXPOSED Microcinema in Durham and 
> Sunspot
> Cinema/UCF Art Gallery in Orlando, were well received. For the latter,
> feedback was: "so lovely… I wish I could see those films again! Such a
> great opportunity to see such an ephemeral program", for the former,
> simply, "f*cking killer".
>
> Thanks!
>
> Eric
>
>
> On Tue, Jan 3, 2017 at 3:28 PM, Eric Theise  wrote:
>
>> I'm pleased to let you all know that the tour of A Roll for Peter, the
>> Peter Hutton tribute film organized by Jennifer Reeves & Mark Street,
>> has eight confirmed dates as we head into 2017, commencing with Friday the
>> 13th of January at the UNEXPOSED Microcinema in Durham, NC.
>>
>> For those of you who don't follow links, the dates/venues thus far are
>> 13 January: UNEXPOSED Microcinema, Durham, NC
>> 19 January: Sunspot Cinema/UCF Art Gallery, Orlando, FL
>> 25 January: Ohio State University, Columbus, OH
>> 25 February: Spectacle Society, Dallas, TX
>> 1 March: LFL at 21c, Lexington, KY
>> 7 March: UWM Union Cinema, Milwaukee, WI
>> 9 April: Hamilton College F.I.L.M. SERIES/Bradford Auditorium,
>> Clinton, NY
>> 23 April: Cellular Cinema/Bryant-Lake Bowl, Minneapolis, MN
>>
>> and if you do follow links, here's one to the most detailed and
>> up-to-date page for the overall project:
>> http://erictheise.com/films/a-roll-for-peter/
>>
>> If you run a series and would like to present A Roll for Peter between
>> now and late May 2017, please review the details at that page, then email
>> me with some proposed dates.
>>
>> I've been in touch with people in Albuquerque, Atlanta, Austin,
>> Baltimore, Boston, Boulder, Buffalo, Chicago, Detroit, Iowa City,
>> Knoxville, New Orleans, Portland (OR), Providence, San Francisco, Seattle,
>> Toronto, and Tucson about screenings. Some cases: no reply; some cases: a
>> date & location should be announced soon. If you'd like to see A Roll for
>> Peter in one of those cities, email me OFF LIST and I'll let you know who
>> I've been talking with.
>>
>> If there's an additional city or venue where you would like the project
>> shown, please reply or email me off list with your ideas and
>> recommendations.
>>
>> Thanks for your interest in and support of this project!
>>
>> Eric
>>
>>
>
> On Tue, Jan 3, 2017 at 3:28 PM, Eric Theise  wrote:
>
>> I'm pleased to let you all know that the tour of A Roll for Peter, the
>> Peter Hutton tribute film organized by Jennifer Reeves & Mark Str

Re: [Frameworks] st. john’s, newfoundland

[Eric Theise]

Thanks Sarah! I’ll try to get over there at the beginning of the week and
report back if I have anything to add beyond what’s on their website.

Eric

On Sat, Aug 10, 2019 at 18:36 Kolberg, Sarah  wrote:

> Check out nifco -  newfoundland independent filmmaker’s co-op and  mike
> jones – sadly mike passed a few years back, but he founded nifco and last I
> knew it was still going strong.  They could certainly point you to a host
> of people both historical and contemporary.
>
>
>
> ~ sarah
>
>
>
> *From:* FrameWorks  *On Behalf Of
> *Eric Theise
> *Sent:* Saturday, August 10, 2019 4:21 PM
> *To:* Experimental Film Discussion List 
> *Subject:* [Frameworks] st. john’s, newfoundland
>
>
>
> Curious if you Frameworkers know of any experimental film activity –
> contemporary or historical – in St. John’s, Newfoundland.
>
>
>
> Thanks, Eric
>
>
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[Frameworks] st. john’s, newfoundland

[Eric Theise]

Curious if you Frameworkers know of any experimental film activity –
contemporary or historical – in St. John’s, Newfoundland.

Thanks, Eric
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Re: [Frameworks] suggestions for experimental road movies and/or experimental films about automobility

[Eric Theise]

Hi Bryan,

Last fall I was using the Film Library & Study Center at PFA and shared a
table with a researcher visiting from Poland. Turned out one of the
subjects of her teaching and research was the "road movie in American
mainstream and avant-garde cinema".

http://wa.amu.edu.pl/wa/boczkowska_kornelia

Seems it'd be fruitful for both of you to put your heads together. Please
give her my regards if you contact her (her email address is on that page).

Cheers, Eric

On Mon, Jul 22, 2019 at 4:44 AM Albert Alcoz  wrote:

> Some ideas:
>
> *Kustom Kar Kommandos* (1965) by Kenneth Anger
> 
> *Harmonica* (1971) by Larry Gottheim
> 
> *Moment* (1972) by Bill Brand 
> *Fresh Kill* (1972) by Gordon Matta-Clark
> 
> *Pasadena Freeway Stills* (1974) by Gary Beydler
> 
> *States of America * 
> (1975)
> by Bette Gordon and James Benning
> 
> *Seeing in the Rain
> *
> (1981) by Chris Gallagher
> 
> *Hringurinn* (1985) by Fridrik Thor Fridriksson
> 
> *Undivided Attention* (1987) by Chris Gallagher
> 
> *Mohave Cruising *(2000) by Lluis Escartín 
> *Cinnamon* (2006) by Kevin Jerome Everson
> 
> *Make It new John* (2009) by Duncan Campbell
> 
> *Get Out of the Car* (2010) by Thom Andersen
> 
> *Dromosphäre* (2010)  by Thorsten Fleisch
> 
> *Chevelle * (2012) by Kevin Jerome
> Everson 
> *Death Songs & Car Bombs* (2013) Brendan & Jeremy Smith
> 
> *The Quiet Car* (2013) by Ernie Gehr
> 
> *C-LR: Coorow-Latham Road for Those Who Don’t Have the Time *(2013) by
> Blake Williams
> 
> *Small Roads* (2017) by James Benning
> 
>
>
> On Mon, Jul 22, 2019 at 12:50 PM Bryan Konefsky 
> wrote:
>
>> Hello all, I am in the process of building a program that looks at
>> automobility and road movies from an experimental perspective... wondering
>> if anyone has suggestions about artists' films that study this topic...
>> Titles and links would be preferable and I am open to both historic and
>> current works - if you have made something along these lines I would be
>> happy to have the opportunity to view such films/videos as well.
>>
>> thanks everyone
>> Bryan Konefsky
>> president, Basement Films
>> founder/director, Experiments in Cinema
>>
>> Great art has always gone to the masses, to their hopes and dreams, for
>> that spark that kindled their souls. The rest, "the many, all too many" as
>> Nietzsche called mediocrity, have been mere commodities that can be bought
>> with money, cheap glory, or social position.
>> - Emma Goldman
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>>
>
>
> --
> http://visionaryfilm.net/ 
> http://albertalcoz.com/ 
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Re: [Frameworks] Films with creative off-screen voice reading diaries?

[Eric Theise]

I don't know the film you cite and am not presently in a place where I can
see if it, or excerpts of it, are online.

I wonder what you mean when you say "creative". The diary is written
creatively? The reading itself is creative?

I ask partly because I'm nearing completion of a piece where, I've been
told (though don’t believe), the visuals are without precedent but the
soundtrack is a rather straight reading of diaristic material. The text is
inspired by, and confounds, known literature but it'd more likely be lumped
under the moniker "uncreative writing".

Thanks, Eric


On Sun, Jul 21, 2019 at 2:01 PM Lu Yangqiao  wrote:

> Hi all,
>
> I am looking for films that feature off-screen voices reading a diary
> creatively, such as Peter Thompson's Two Portraits, regardless whether the
> author of the diary is present in the film or not. Any suggestion is
> greatly appreciated!
>
> Yangqiao Lu
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Re: [Frameworks] Suzan Pitt

[Eric Theise]

I don't always read my Hyperallergic emails when they arrive but in sifting
though a batch last night I found mention of this Suzan Pitt obituary in
Animation Magazine. It contains some career details I'd not known and also
has a link to a recent 25 minute interview on Vimeo that was done as part
of a Great Woman Animators project.

https://www.animationmagazine.net/top-stories/animator-and-cal-arts-instructor-suzan-pitt-dies-at-76/

Eric

On Mon, Jun 17, 2019 at 6:16 AM Dominic Angerame 
wrote:

> This news saddens me greatly. I had the great pleasure of speaking with
> Suzan at length many times while operating Canyon Cinema. With fondness I
> remember the year that I asked her to  present her work at the
> Latinoamericano Cine del Nuevo International Festival in Havana. We had the
> chance to hang out, party and laugh almost continuously telling stories of
> filmmakers we both knew and the thrill of just being in Havana.
>
> Cuban filmmakers and audiences were impressed with her films since they
> had never seen any of her films. Suzan was extremely happy that she had the
> opportunity to expose her films to the Cuban people. For both the both of
> us it was an extremely rewarding experience that I remember with fondness
> to this day.
>
> Suzan will be missed by many of us in the AG Community
>
>
> Dominic
>
> On Jun 17, 2019, at 12:21 AM, Eric Theise  wrote:
>
> I've only come across what Laura Kraning posted to Suzan's Facebook page,
> which was:
>
> "Dearest friends,
>
> We are so sorry to report the very sad news that our dear Suzan Pitt
> passed away this morning at her home in New Mexico. She was very private
> about her illness but she would want you all to know how much you all meant
> to her. Her son, Blue Kraning, and I thank you for your friendship and
> kindness during this very difficult time. She will be missed by so many. I
> will provide more details soon about the funeral, which will take place in
> Nashville, TN. Feel free to share photos and memories."
>
> I'm grateful I had a chance to meet her and see her present Asparagus and
> other works at the School of the Art Institute in Chicago sometime in the
> late 1980s. Here in the SF Bay Area we are also recovering from the news
> that poet Kevin Killian passed away over the weekend.
>
>
> On Sun, Jun 16, 2019 at 11:44 PM FrameWorks Admin 
> wrote:
>
>> Very sad to learn suddenly that Suzan Pitt passed away yesterday, June
>> 16th.
>> She was quite active these past two years, with international
>> retrospectives, our DVD release and the Animafest Lifetime Achievement
>> Award.
>> We spoke regularly and I had no idea. There is no information online yet;
>> in case anybody knows more, please post.
>> Pip Chodorov, Re:Voir
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>
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Re: [Frameworks] Suzan Pitt

[Eric Theise]

I've only come across what Laura Kraning posted to Suzan's Facebook page,
which was:

"Dearest friends,

We are so sorry to report the very sad news that our dear Suzan Pitt passed
away this morning at her home in New Mexico. She was very private about her
illness but she would want you all to know how much you all meant to her.
Her son, Blue Kraning, and I thank you for your friendship and kindness
during this very difficult time. She will be missed by so many. I will
provide more details soon about the funeral, which will take place in
Nashville, TN. Feel free to share photos and memories."

I'm grateful I had a chance to meet her and see her present Asparagus and
other works at the School of the Art Institute in Chicago sometime in the
late 1980s. Here in the SF Bay Area we are also recovering from the news
that poet Kevin Killian passed away over the weekend.


On Sun, Jun 16, 2019 at 11:44 PM FrameWorks Admin 
wrote:

> Very sad to learn suddenly that Suzan Pitt passed away yesterday, June
> 16th.
> She was quite active these past two years, with international
> retrospectives, our DVD release and the Animafest Lifetime Achievement
> Award.
> We spoke regularly and I had no idea. There is no information online yet;
> in case anybody knows more, please post.
> Pip Chodorov, Re:Voir
> ___
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>
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[Frameworks] Fwd: In dehydration melts: Shapeshifters Cinema presents Keith Evans with Rae Diamond' s Long Tone Choir, Sunday, April 14th

[Eric Theise]

On the one hand, there are two count 'em two listings for this show in the
This Week in Avant Garde Cinema calendar.
On the other, those mailings sometimes go out on Sundays and it's easy to
miss a same-day screening.

If you're in the Bay Area this weekend do consider attending this
Shapeshifters show with Keith Evans and the Long Tone Choir. Some may
remember Keith from his work as a member of the Silt film collective. This
show is part of a series of events he's curated under the umbrella "Ambient
Dew Point" which included a gallery show in San Jose
https://www.facebook.com/events/art-ark-gallery/ambient-dew-point-curated-by-keith-evans/504608270063388/
and
a recent screening at the Roxie in San Francisco, co-curated with Mark
Wilson and sponsored by Canyon Cinema (
http://www.canyoncinema50.org/events/df93df57-8c76-4b46-b16c).

Full disclosure: I will be performing in a quintet version of the Long Tone
Choir with Nina Bayley, Rae Diamond, Joe Kuta, and Suki O'Kane.









*Shapeshifters Cinema presents… Keith Evans with Rae Diamond’s Long Tone
Choir Sunday, April 14, 2019 Doors open at 7:30pm, Showtime at 8:00pm
Temescal Art Center 511 48th St. (@ Telegraph Ave) Oakland, CA 94609 *

Admission is free but donations are greatly appreciated.

“In dehydration melts” is a collaborative water augury featuring the
para-cinema of *Keith Evans* and the vocal dilations of *Rae Diamond’s Long
Tone Choir.* Drawing attention to our interconnection with Earth patterns
and energies, “In dehydration melts" is a performance and an object, an
instrument of equivocal data displaying sounds and liminal images of the
transition zone between experience and meaning. Bodies, gestures, field
notes, screens, walls, and the aggregate equipment are elements in a
schematic and an ephemeral architecture that is evocative of the elastic
and transformational forces unfolding an awareness of time. This expansive
new work of compressed artifacts and obsolescences will congregate in the
heat around the phoneme + phone + phonograph + phonological as utterances
idiosyncratically decay through the apparatus contributing to an animate
cinema system performed in our minds and in our presence.

*Shapeshifters Cinema* is a monthly expanded cinema series featuring
experimental filmmakers and video artists presenting moving image work live
with accompaniment from musicians, sound artists and artists from other
creative disciplines. Shapeshifters takes place the second Sunday of every
month, from 8 to 9pm (unless otherwise noted) at Temescal Art Center in
North Oakland. Shapeshifters is curated by Kathleen Quillian and Gilbert
Guerrero. Support for Shapeshifters Cinema is provided by the Zellerbach
Family Foundation, San Francisco Cinematheque and individual donors.

*Shapeshifters web site*: http://www.shapeshifterscinema.com

*Facebook event page*: https://www.facebook.com/events/1076826802502472/
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Re: [Frameworks] Digibeta to digital

[Eric Theise]

Hi Dominic,

If you have time and a number of tapes I'd encourage you to look into
BAVC's Preservation Access Program. They accept applications twice yearly
and the spring cycle is open until 21 April. I was accepted into the
program a year ago and they were able to recover a variety of work for me
on MiniDV and Hi8. It is expensive even with ~70% of the cost covered by
the Mellon Foundation and the backlog is such that it might be 9-12 months
before you get your hard drive back. But they seem to have equipment for
every format known to humankind and super skilled & passionate people
working there who'll do a great job for you.

Info at https://bavc.org/preserve-media/preservation-access-program

They're also set up to do one-offs outside of PAP but you'll face the same
backlog.

At the time I was looking to recover that MiniDV work this other place was
suggested to me:
  Express Media
  2225 Palou Avenue
  San Francisco, CA 94124
  PHONE: 415-255-9883
  https://expressmedia.tv/post-production/duplication-and-graphics/

Others may wish to chime in here but I'm under the impression that
Digibeta, while good for the time, is an inferior format if you have film
elements and are able get a contemporary scan.

Related to contemporary scans I'll toot my own horn and say that I was
fortunate to be a recipient of one of those Interbay Cinema Society
Lightpress Grants that Jon Behrens posts about. Previously, the only scan I
had of my cameraless film, Hojas de Maíz, made in the days when previewing
was via snail-mailed VHS tapes, was Digibeta and that pretty much left the
film in limbo. But now that there's a lovely scan available (
https://erictheise.com/films/hojas-de-maiz/) it's got a new lease on life,
and I was gratified when Stefano Miraglia almost immediately curated into
it the Moving Image Catalog project.

Eric


On Tue, Apr 9, 2019 at 6:18 AM Dominic Angerame 
wrote:

> Does anyone know of a great lab here in San Francisco who can digitize
> Digibeta HP tapes.
>
> Thanks
>
> Dominic
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Re: [Frameworks] Agnes Varda

[Eric Theise]

I'm so glad you posted the story about walking into that "video store",
Dominic, I remember hearing you tell it elsewhere (BAMPFA?) and am glad to
see it "in print".


On Mon, Apr 1, 2019 at 12:29 PM Dominic Angerame 
wrote:

> I am so glad that I had the chance to meet and talk with Agnes Varda
> during my lifetime. The first time I met her was when she presented
> “Vagabond" at the World Theatre in Chinatown, San Francisco,  located
> around the corner from my apartment. It was presented as part of a tribute
> by the San Francisco International Film Festival and the film was being
> premiered. I approached her after the screening in  my role of Executive
> Director for Canyon Cinema. I wanted to have Canyon distribute her prints
> since they seemed almost impossible to locate for rental at that time. She
> refused because she wanted Canyon Cinema to pay for the prints. Alas Canyon
> had no policy or funds to purchase prints for distribution. As such an
> opportunity to distribute her films disappeared.
>
> The second time I met her was in Paris. My film "In the Course of Human
> Events" was being shown as part of an art show curated by Paul Virilio
> called "Ce Que Arrive". The exhibition focused on artwork and films that
> dealt with disasters. Since my film " In the Course of Human Events”
> centered around images of the destruction of a freeway that was damaged by
> the Loma Prieta earthquake of 1989. . Also as part of the exhibition was
> Bruce Conner’s “Crossroads" and "Boston Fire" by Peter Hutton and other
> experimental filmmakers. The salon called Cafe de Penquin is located on Rue
> Deguerre. This cafe was a meeting place where Paul Virilio would host the
> filmmakers and curator of “Ce Qui Arrive” for lunch and conversation.  I
> had with Paul Virilio in French about the role of artists in today’s
> society. Virilio mentioned that the artists were the first victims in
> society. After lunch and coffee I took a walk down the avenue to explore.
> Rue Deguerre was located at the back end of the Montparnasse Cemetery and
> quite unique and scenic.
>
> I walked past a store front that had its windows entirely covered with
> posters of Agnes Vardas’ films. At first I thought it was a video store. I
> walked in and there was Agnes Varda sitting behind a flatbat editor with
> one of her assistants. I had actually walked into Varda’s studio, it was
> not a video store.After  I enter she walked over to the door and locked it.
> She remembered my original meeting with her here in San Francisco. She then
> invited me to a screening room in the back of the large studio. She told me
> to sit down an then Agnes ask if I would like to view her new film, a
> sequel to The Gleaners and I.  down She excused herself and came back with
> a bottle of wine for me to enjoy as I watched the film. The film was great
> and after the the private screening I left and thank her profusely for her
> kindness.
>
> The other time I had the chance to meet Agnes Varda was at the Viennale
> Film Festival in Austria where I was honored to have a complete
> retrospective of every film I had made. Once more she was smiling,
> talkative and I reminded her of our previous meeting. She had remembered
> that incident with fondness and was impressed on my boldness of entering
> her private studio.
>
> Dominic Angerame
>
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Re: [Frameworks] Chris Marker les vies d'un cineaste???

[Eric Theise]

Hi Erika,

This search turns up a number of non-US Amazons and AbeBooks vendors.

https://www.bookfinder.com/search/?isbn=9782330015695=xl=qr

Eric


On Fri, Mar 22, 2019 at 10:25 AM erika suderburg  wrote:

> Hello Has anyone had luck purchasing the catalog for Chris Marker les vies
> d'un cineaste edited by Raymond Bellour and Christine Van Assche for the
> Cinemateque Francais 2018?
> Iam unable to find one and would like to. Have looked on CF site and all
> amazons. Any help would be appreciated! Thanks
>
>
>
> Erika Suderburg
> University of California, Riverside
> Chair, Department of Media and Cultural Studies
> Director, Gluck Fellows Program for the Arts.
> Cooperating Faculty, Department of
> Comparative Literature & Foreign Languages
> Office: 951 827-2685
> Home: 323 660-4170
> erikasuderburg.com
>
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Re: [Frameworks] projector rental

[Eric Theise]

Hi Dominic,

Because we're pals over there on Facebook I sent you an invitation to join
the group. It is a public group which suggests any Facebooker should be
able to find/see it at https://www.facebook.com/groups/567073060039154/

Eric


On Sun, Jan 20, 2019 at 8:35 AM Dominic Angerame 
wrote:

> Can you send a link to light/fog
>
> Thanks
>
>
>
> On Jan 19, 2019, at 3:52 PM, Eric Theise  wrote:
>
> Charles,
>
> If Facebook is an option for you I recommend you seek out and join the
> public group called “light//fog” that traffics in Bay Area equipment,
> screenings, and miscellaneous. Definitely some people active there I’ve
> never seen on Frameworks.
>
> Eric
>
> On Sat, Jan 19, 2019 at 14:46 Charles Chadwick 
> wrote:
>
>> I know this is a long shot, but does anyone know of a place to rent a
>> super8 projector in the San Francisco Bay Area? Or anyone that would be
>> willing to rent one out? Thanks.
>>
>> -charles
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
> ___
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> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
> ___
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> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
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Re: [Frameworks] projector rental

[Eric Theise]

Charles,

If Facebook is an option for you I recommend you seek out and join the
public group called “light//fog” that traffics in Bay Area equipment,
screenings, and miscellaneous. Definitely some people active there I’ve
never seen on Frameworks.

Eric

On Sat, Jan 19, 2019 at 14:46 Charles Chadwick 
wrote:

> I know this is a long shot, but does anyone know of a place to rent a
> super8 projector in the San Francisco Bay Area? Or anyone that would be
> willing to rent one out? Thanks.
>
> -charles
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
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Re: [Frameworks] Western Cine guide to editing 16mm film?

[Eric Theise]

The frame says –

Download this Exremely [sic] Helpful Word Document, Courtesy of: MPS

"..Your workprint and tracks serve as the "blue print" for work
performed at the laboratory. The leaders on the head and tail of your rolls
of film provide for proper syncing and handling, not only on your rolls,
but also, on the rolls created later during sound rerecording, negative
cutting, and laboratory work. Marks on the workprint show the Negative
Cutter where special effects are required so that the "A" rolls can be
assembled. The lab uses these same marks to cue the printer to produce
those effects. The correct preparation of your workprint is important to
the completion of your production. Errors made because of incomplete or
incorrect instructions can be very costly to you in both budget and
deadline. We, at Motion Picture Services, have an interest in helping you
through this stage of your production. We invite your questions and ask you
to call us for help or clarification with your production, workprint
preparation, and schedules (303-777-2110). We have produced the attached
drawings to show a minimum requirement for leaders and effects marks. Other
publications such as the "ACVL Handbook" may provide additional information
that would be useful to you..."

– so that doc didn't originate with Western Cine/Cinema Lab. The page also
has an image that looks like a return address sticker that says:

Motion Picture Services
Susie Phillips, (303) 777 2110
1115 S. Josephine, Denver, Co. 80210

Post back here if you ever find it, sounds useful.


On Fri, Dec 14, 2018 at 4:24 PM Eric Theise  wrote:

> Hi Jason,
>
> I think this must be what you're looking for but it doesn't appear that
> the Wayback Machine actually archived it, just the frame-based site that
> contained it.
>
>
> https://web.archive.org/web/20040627095859fw_/http://www.thecinemalab.com:80/booklet.zip
>
> Eric
>
>
> On Fri, Dec 14, 2018 at 4:11 PM Jason Halprin  wrote:
>
>> Hi All,
>>
>> In one of my computer updates, I seem to no longer have a pdf of a guide
>> to 16/35mm film editing that was originally put together by Western Cine.
>> As I recall, this included guidelines for marking your workprint, preparing
>> negatives for A/B rolling, and essentially the whole process that someone
>> working with a negative cutter (or a negative cutter themselves) would want
>> to follow.
>>
>> Does anyone know what I'm referring to? Or, where I might find it? If I
>> recall, I downloaded it from the Cinema Lab (successor to Western Cine)
>> website back in the early 2000s.
>>
>> Thanks in Advance!
>>
>> Jason Halprin
>> jihalp...@gmail.com
>> jasonhalprin.com 
>> ___
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>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>
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Re: [Frameworks] Western Cine guide to editing 16mm film?

[Eric Theise]

Hi Jason,

I think this must be what you're looking for but it doesn't appear that the
Wayback Machine actually archived it, just the frame-based site that
contained it.

https://web.archive.org/web/20040627095859fw_/http://www.thecinemalab.com:80/booklet.zip

Eric


On Fri, Dec 14, 2018 at 4:11 PM Jason Halprin  wrote:

> Hi All,
>
> In one of my computer updates, I seem to no longer have a pdf of a guide
> to 16/35mm film editing that was originally put together by Western Cine.
> As I recall, this included guidelines for marking your workprint, preparing
> negatives for A/B rolling, and essentially the whole process that someone
> working with a negative cutter (or a negative cutter themselves) would want
> to follow.
>
> Does anyone know what I'm referring to? Or, where I might find it? If I
> recall, I downloaded it from the Cinema Lab (successor to Western Cine)
> website back in the early 2000s.
>
> Thanks in Advance!
>
> Jason Halprin
> jihalp...@gmail.com
> jasonhalprin.com 
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
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Re: [Frameworks] speaking of Bleu Shut...

[Eric Theise]

Thanks and thanks again to John, Jeff, Todd, and Diane for weighing in on
my question. What produced that look has puzzled me since my first viewing
of that film.

Eric

On Tue, Oct 30, 2018 at 10:17 AM Diane Kitchen  wrote:

> In Bob's studio, here in Milwaukee, I remember seeing a shiny
> metallic-coated half-sphere, around 2 1/2 - 3' in diameter.  With its
> fish-eye reflection several people could have grouped in front of it,
> cropping out the camera while shooting.
>
>
>
> --
> *From:* FrameWorks  on behalf of
> todd eacrett 
> *Sent:* Monday, October 29, 2018 7:57:13 PM
> *To:* Experimental Film Discussion List
> *Subject:* Re: [Frameworks] speaking of Bleu Shut...
>
>
>
> There was a 165° fisheye lens (Pacific Optical 3.45mm) for gun or cockpit
> cameras that produced a circular image like that and would jibe with the
> military surplus origin. One of the samples I have (and some others I’ve
> seen) has a small hole/divot dead centre in the front element. Definitely
> factory-drilled, and I’m guessing to provide a reference or alignment mark
> on the footage.
>
>
> On Mon, 29 Oct 2018 17:22:27 -0400, Eric Theise wrote:
>
>
> I attended PFA's screening of Luminous Procuress a few weeks back (
> https://bampfa.org/event/out-vault-luminous-procuress) and was startled
> to see an effect I've only ever associated with Robert Nelson's Bleu Shut.
> There are at least two sections in Nelson's film – one where a group of
> people are repeatedly sticking their tongues out, one where a man is
> teetering around on a child's (bi-? tri-?) cycle before toppling into a
> large puddle of water, both in slow motion – where there's a kind of
> fisheye view with a small, very black hole at the center of the disk.
> Curator Emeritus Steve Seid thought it was a lab effect but I'm curious if
> any of you know how it was made, what the effect is called, and if you know
> of any other films that use it.
>
> Grateful to Albert and the "clock" thread for reminding me to ask.
>
> Eric
>
> ___
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> https://mailman-mail5.webfaction.com/listinfo/frameworks
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> ___
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[Frameworks] tonight's opening of "tony conrad: a retrospective" in cambridge mass

[Eric Theise]

The retrospective of Tony Conrad's work that was on view in Buffalo earlier
this year, and that will travel to Philadelphia's ICA next February, opens
tonight at both MIT's List Center and Harvard's Carpenter Center. I timed
the beginning of an extended East Coast trip so that I could attend, and
maybe revisit tomorrow.

https://listart.mit.edu/exhibitions/introducing-tony-conrad-retrospective
https://carpenter.center/program/introducing-tony-conrad-a-retrospective

Any Boston-area frameworkers who'd like to meet up tonight, feel free to
get in touch. I'll also visit North Adams, Rochester, and Buffalo in
advance of my two week "toolmaker in residence" at Signal Culture later
this month and would be happy to share a meal with any frameworkers along
the way.

Cheers, Eric
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[Frameworks] experimental & expanded animation. book & conference

[Eric Theise]

I've been curious about Vicky Smith & Nicky Hamlyn's new "Experimental and
Expanded Animation: Current Perspectives & New Directions" published by
Palgrave Macmillan. Today's email brings news of a call for papers and a
conference on the subject to be held in Feb 2019. Their boilerplate makes
reference to Russett & Starr's "Experimental Animation" (1976), an
introductory survey of animators and films that inspired many. In my
recollection that book could always be found on the film shelves at used
bookstores, reasonably priced.

Smith & Hamlyn's edition lists at $99.99 hardcover, $79.99 eBook, and I'm
wondering if any frameworkers have seen a copy and have thoughts they'd
care to share?

The book:
https://www.palgrave.com/us/book/9783319738727

The conference:
https://expcinema.org/site/en/call/experimental-expanded-animation-current-perspectives-new-directions

Eric
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Re: [Frameworks] articles, books, reflections on filmmaking cooperatives?

[Eric Theise]

This topic reminds me that back at the beginning of 2015 I set up an
Experimental Cinema Group on Zotero.org. Zotero is an open source "personal
research assistant", meaning that it's a database for books, articles, and
other types of research material (a small sampling of item types include
"blog post", "email", "film", "patent", & "video recording").  It
integrates with word processors and can generate bibliographies and
references. Its browser extensions can be used to simply nab references off
of something like WorldCat and add them to the library. The academics among
you must know of it.

Marcos Ortega helped contribute. There are presently ~150 items in the
database, many tagged well. My contributions are mostly books that have
been suggested on Frameworks plus a few items off of my bookshelves or
spotted elsewhere.

You can see it via the web at
https://www.zotero.org/groups/122679/experimental_cinema/items

You should also be able to load it into your own copy of the Zotero
program, downloadable from https://www.zotero.org/

If anyone would like an invitation to the group so that they can start
contributing just drop me an email off list. I'd imagined that a little
group of contributor/maintainers might emerge but there wasn't much
interest at the beginning and I haven't been inclined to promote it.
Occasionally I'd harvest the book recommendations out of Frameworks emails
but it no longer seems a good use of my time.

Eric


On Thu, Sep 20, 2018 at 2:19 AM John Sundholm 
wrote:

> on sweden:
>
>
> sundholm & andersson:
>
> ”Spaces of Becoming: The Stockholm Film Workshop as a Transnational Site
> of Film Production”, *Transnational Cinemas *6: 2 (2015).
>
> ”The Cultural Policies of Minor Cinema Practices: The Swedish Film
> Workshop during its First Years”, *Studies in European Cinema *8: 3 (2011)
>
> "Film Workshops as Polyvocal Public Spheres: Minor Cinemas in Sweden", 
> *Canadian
> Journal of Film Studies*, 19: 2 (2010)
>
>
> and a book for those who read swedish:
>
>
> http://www.nordicacademicpress.com/bok/hellre-fri-an-filmare/
> --
> *Från:* FrameWorks  för Albert
> Alcoz 
> *Skickat:* den 19 september 2018 22:50:30
> *Till:* Experimental Film Discussion List
> *Ämne:* Re: [Frameworks] articles, books, reflections on filmmaking
> cooperatives?
>
> Mitbegründer der Hamburger Filmmacher Cooperative
> http://www.kino-im-sprengel.de/download/Programmheft_Hamburg.pdf
>
> On Wed, Sep 19, 2018 at 10:48 PM Albert Alcoz 
> wrote:
>
>> The Workshop of the Film Form (1970-1977). Early Film Work From Poland
>> (DVD+booklet)
>> https://www.eai.org/titles/the-workshop-of-the-film-form-1970-1977
>>
>> On Wed, Sep 19, 2018 at 10:39 PM Ben Ogrodnik 
>> wrote:
>>
>>> Hi all,
>>>
>>> I am trying to gather a list of articles, books, and reflections on
>>> filmmaking cooperatives & film workshops in their heyday, c. 1960-1980s.
>>>
>>> Some recent examples of this would be *Shoot Shoot Shoot: The First
>>> Decade of the London Film-Makers' Co-operative 1966-76*; or *Working
>>> Together: Notes on British Film Collectives in the 1970s*.
>>>
>>> Any suggestions would be greatly appreciated! Thanks.
>>>
>>> Sincerely,
>>> Ben
>>>
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>>
>>
>> --
>> http://visionaryfilm.net/ 
>> http://albertalcoz.com/ 
>>
>
>
> --
> http://visionaryfilm.net/ 
> http://albertalcoz.com/ 
> ___
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Re: [Frameworks] Seeking examples of film elegies

[Eric Theise]

Also, Margaret Rorison started a thread on this subject in March 2017 that
you could review at
https://mailman-mail5.webfaction.com/pipermail/frameworks/2017-March/thread.html


On Tue, Aug 28, 2018 at 2:47 PM Eric Theise  wrote:

> Robert Beavers' *The Suppliant* (2010)
> https://expcinema.org/site/en/wiki/work/suppliant
>
>
> On Tue, Aug 28, 2018 at 2:41 PM Ekrem Serdar  wrote:
>
>> Three beautiful ones dedicated to, about Marion McMahon that I think
>> would be appropriate:
>> *Froglight* by Sarah Abbott
>> *Behind this Soft Eclipse* by Eve Heller
>> of course, *What these Ashes Wanted *by Philip Hoffman
>>
>> Also, Abraham Ravett's *Tziporah*
>>
>> On Tue, Aug 28, 2018 at 2:31 PM Adam Hyman  wrote:
>>
>>> Perhaps *Necrology* by Standish Lawder.  Does it work as elegy, for you
>>> to decide:
>>> https://www.youtube.com/watch?v=Dadi7mw5gCs
>>>
>>> When we had a memorial screening for Brakhage, we included
>>> *Passage Through: A Ritual*  (1990, 16mm, color/ sound, 50min)
>>>
>>> And also Brakhage’s *Panels for the Walls of Heaven* is really lovely
>>> (2002, color, silent, 31 min.) Print courtesy of the Academy Film Archive.
>>>
>>> And Kitch’s Last Meal, by Carolee Schneemann, (1976, 55 min.), perhaps.
>>> Hard to know what will work as consolation.
>>>
>>> Best regards,
>>>
>>> Adam Hyman
>>>
>>> From:  FrameWorks  on behalf of
>>> Katherine T Model 
>>>
>>> Threnody—Nathaniel Dorsky
>>> The Dragon is the Frame—Mary Helena Clark
>>>
>>> Best,
>>> Katie Model
>>>
>>> On Tue, Aug 28, 2018 at 1:40 PM Gene Youngblood 
>>> wrote:
>>>
>>>
>>> Alexander Sokurov’s trilogy, Elegy of a Voyage, Elegy of the Land and
>>> Moscow Elegy (lovely portrait of Kozintsev’s apartment).
>>>
>>> On August 28, 2018 at 9:05:14 AM, Sarah Bliss (bl...@sarahblissart.com)
>>> wrote:
>>>
>>>
>>> Greetings Frameworkers,
>>>
>>> I write from AgX in Boston, where we are making our way, in grief and
>>> with love, since the death of our beloved Rob
>>> Todd.  At AgX, we sometimes hold a salon for members. The theme of our
>>> next will be elegies.  What filmic examples of
>>> elegies do you know?
>>>
>>> The Poetry Foundation defines an elegy as: "In traditional English
>>> poetry, it is often a melancholy poem that laments its subject’s death but
>>> ends in consolation."
>>>
>>> Thanks,
>>>
>>> Sarah Bliss
>>> http://www.SarahBlissArt.com
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>>
>>
>> --
>> *Ekrem Serdar*
>> *Curator*
>> *Squeaky Wheel Film & Media Art Center*
>> 617 Main Street, Buffalo, NY 14203
>> PUBLIC HOURS: Tuesday-Saturday, 12–5pm
>> 716-884-7172  |  squeaky.org <http://www.squeaky.org/>
>> -
>> ---
>> *Yvette Granata | #d8e0ea: post-cyberfeminist datum
>> <http://squeaky.org/event/post-cyberfeminist-datum/>*
>> On view June 15–August 25, 2018.
>> See our Summer 2018 calendar here
>> <http://squeaky.org/exhibitions-events/>.
>> -
>> ---
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>
___
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Re: [Frameworks] Seeking examples of film elegies

[Eric Theise]

Robert Beavers' *The Suppliant* (2010)
https://expcinema.org/site/en/wiki/work/suppliant


On Tue, Aug 28, 2018 at 2:41 PM Ekrem Serdar  wrote:

> Three beautiful ones dedicated to, about Marion McMahon that I think would
> be appropriate:
> *Froglight* by Sarah Abbott
> *Behind this Soft Eclipse* by Eve Heller
> of course, *What these Ashes Wanted *by Philip Hoffman
>
> Also, Abraham Ravett's *Tziporah*
>
> On Tue, Aug 28, 2018 at 2:31 PM Adam Hyman  wrote:
>
>> Perhaps *Necrology* by Standish Lawder.  Does it work as elegy, for you
>> to decide:
>> https://www.youtube.com/watch?v=Dadi7mw5gCs
>>
>> When we had a memorial screening for Brakhage, we included
>> *Passage Through: A Ritual*  (1990, 16mm, color/ sound, 50min)
>>
>> And also Brakhage’s *Panels for the Walls of Heaven* is really lovely
>> (2002, color, silent, 31 min.) Print courtesy of the Academy Film Archive.
>>
>> And Kitch’s Last Meal, by Carolee Schneemann, (1976, 55 min.), perhaps.
>> Hard to know what will work as consolation.
>>
>> Best regards,
>>
>> Adam Hyman
>>
>> From:  FrameWorks  on behalf of
>> Katherine T Model 
>>
>> Threnody—Nathaniel Dorsky
>> The Dragon is the Frame—Mary Helena Clark
>>
>> Best,
>> Katie Model
>>
>> On Tue, Aug 28, 2018 at 1:40 PM Gene Youngblood 
>> wrote:
>>
>>
>> Alexander Sokurov’s trilogy, Elegy of a Voyage, Elegy of the Land and
>> Moscow Elegy (lovely portrait of Kozintsev’s apartment).
>>
>> On August 28, 2018 at 9:05:14 AM, Sarah Bliss (bl...@sarahblissart.com)
>> wrote:
>>
>>
>> Greetings Frameworkers,
>>
>> I write from AgX in Boston, where we are making our way, in grief and
>> with love, since the death of our beloved Rob
>> Todd.  At AgX, we sometimes hold a salon for members. The theme of our
>> next will be elegies.  What filmic examples of
>> elegies do you know?
>>
>> The Poetry Foundation defines an elegy as: "In traditional English
>> poetry, it is often a melancholy poem that laments its subject’s death but
>> ends in consolation."
>>
>> Thanks,
>>
>> Sarah Bliss
>> http://www.SarahBlissArt.com
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>
>
> --
> *Ekrem Serdar*
> *Curator*
> *Squeaky Wheel Film & Media Art Center*
> 617 Main Street, Buffalo, NY 14203
> PUBLIC HOURS: Tuesday-Saturday, 12–5pm
> 716-884-7172  |  squeaky.org 
> -
> ---
> *Yvette Granata | #d8e0ea: post-cyberfeminist datum
> *
> On view June 15–August 25, 2018.
> See our Summer 2018 calendar here 
> .
> -
> ---
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
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Re: [Frameworks] Anthony McCall's films

[Eric Theise]

Canyon #4 (1976), #5 (1982), #6 (1988), #7 (1992), #8 (2000): Light
Describing a Cone is the only work available. I've also checked the
supplements from 1988, 1989, 1990, 1993, 1994, 1995.

McCall is not even in the Film-makers' Coop catalog #7 (1989).


On Sat, Aug 18, 2018 at 7:58 AM Ken Eisenstein  wrote:

> I have the following hard copies of Canyon:
>
> #4-1976
> #7-1992
> no no.-2000
>
> plus
> Supplements from 93,94,95
>
> and can check through them later today
>
> On Sat, Aug 18, 2018 at 10:40 AM, Jonathan Walley 
> wrote:
>
>> Hello Frameworkers,
>>
>> I know you all have better things to do, but if anyone has 1) a spare
>> moment or two, and 2) old print copies of Canyon Cinema or Filmmakers’
>> Co-op catalogs, I have a question.
>>
>> Currently, only two of Anthony McCall’s solid light films are available
>> for rental from Co-ops: *Line Describing a Cone* and *Conical Solid *(this
>> includes Canyon, FMC, Light Cone, and LUX). I believe I recall that *Cone
>> of Variable Volume* and *Partial Cone* were once available from at least
>> some of these co-ops (not sure about *Long Film for Four Projectors*,
>> but I’ll throw that into the mix, too).
>>
>> Can anyone confirm? This means going rather far back, as I assume that
>> the availability of these films changed after “Into the Light” and McCall’s
>> new cycle of solid light films, circa 2001/2/3.
>>
>> Back when you could event rent a *Yellow Movie*, at least from FMC. Ah,
>> the days before moving image art.
>>
>> Thanks in advance for any info, ideas, suggestions.
>> All best,
>> Jonathan
>>
>>
>> Dr. Jonathan Walley
>> Associate Professor and Chair
>> Department of Cinema
>> Denison University
>>
>>
>>
>>
>> ___
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>>
>>
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Re: [Frameworks] Film/video transfer grant?

[Eric Theise]

LightPress Grants, administered by Interbay Cinema Society?
http://interbaycinemasociety.org/lightpress-grants/

Eric


On Mon, Jun 11, 2018 at 12:14 PM Nicole Baker  wrote:

> Hey List,
> back in the spring we were alerted to a grant for something like $900 in
> 4k film transferring.  I cannot find the email and forgot the details,
> could someone tell me the organization who was running it?
>
> Thanks!
> Nicole Elaine Baker
> MFA in Visual Studies, 2019
> Pacific Northwest College of Art
> Hallie Ford School of Graduate Studies
> *www.magiklantern.com *
>
>
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Re: [Frameworks] "A Roll for Peter" at ATA Sat April 1 !!!!!!

[Eric Theise]

A few more details about Saturday's "A Roll for Peter" screening in Craig
Baldwin's Other Cinema series at Artists' Television Access in San
Francisco. Doors at 8p, show at 8:30.

The tribute, silent, will be followed by works with sound:
  Peter Hutton, "In Marin County" (1970)
  Jennifer Reeves, "We Are Going Home" (1998)
  Mark Street, "Sweep" (1998)
  Eric Theise, "To No End Gathered" (2012)

Everything on 16mm. My film, normally silent, will feature live
accompaniment by composer/saxophonist John Ingle of sfSound and other
projects. The lovely booklets on Hutton, published by the Thomas Cole
National Historic Site with essay by Scott MacDonald, will be available at
the door.

In addition to the OC website, Craig's created a Facebook event at
  https://www.facebook.com/events/298181117280918/

Hope to see some of you there.

The North American tour of "A Roll for Peter" continues:
  9 April: Hamilton College F.I.L.M. SERIES/Bradford Auditorium, Clinton, NY
  13 April, NW Film Forum, Seattle, WA
  23 April: Cellular Cinema/Bryant-Lake Bowl, Minneapolis, MN
  29 April: Iris Film Collective, Vancouver, BC
  5 May: Niagara Custom Lab, Toronto, ON
  12 May: Visions, Montréal, QC (preceded by an all-Hutton program on 8 May)
  19 May:  Film and Video Arts Society of Alberta (FAVA), Edmonton, AB

with more info at http://erictheise.com/films/a-roll-for-peter/

Eric

On Tue, Mar 28, 2017 at 10:35 AM, Mark Street <mstreet...@gmail.com> wrote:

> BAY AREA PEEPS. Come on out to the latest "A Roll for Peter" screening, a
> collaborative commemoration with some 40 artists in honor of the great
> Peter Hutton. Jenn Reeves and I conceived this project; Eric Theise has
> taken it on with verve and extraordinary, heroic focus by organizing
> screenings all over the country. Next stop ATA Saturday April 1. Reeves,
> Theise and I will show short films in the latter half of the program, along
> with Peter's "In Marin County"
>
> http://www.othercinema.com
>
>>
>> Mark Street
>> www.markstreetfilms.com
>>
>>
>>
>>>
>>
>
> ___
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> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
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Re: [Frameworks] pageant arc projectors

[Eric Theise]

Fred,

Re:Voir has released Rameau's Nephew, etc., on DVD.
http://re-voir.com/shop/en/michael-snow/70-micheal-snow-rameau-s-nephew-by-diderot-thanx-to-dennis-young-by-wilma-schoen-3493551100393.html

Eric


On Tue, Feb 28, 2017 at 4:49 PM, Fred Camper  wrote:

> Since I've been known as a rather arch defender of film on film, I have to
> weigh in a bit on David's side here.
>
> As film projection becomes rarer an d rarer, various perhaps unexpected
> but not unanticipatable problems occur.
>
> A few years back I went to a projection of Snow's *Rameau's Nephew* at a
> generally well-run college film society, committed to showing films on
> film. I had not seen this complex and impressive film since the mid-1970s,
> when it was first released, and so was eager to see it again. It's over
> four hours long, and doesn't exactly play often at the local Bijou. As most
> likely know, Snow stands with Gehr and Kubelka as being unwilling to
> release his work on video, the idea being that it was made for film and
> should, or must, be seen on film.
>
> The film started. There was something seriously wrong with the sound.
> Specifically, it sounded like the film was threaded loose around the sound
> drum. Any experienced projectionist would recognize this sound, because
> we've all misthreaded this way at least once. At the same time, I
> remembered Snow played around with the sound quite a bit in this film -- I
> just didn't remember what he did at each moment. After about 20 minutes,
> though, I was sure the projection was wrong, and sent a friend sitting with
> me who knew the student projectionists back to tell them to fix it. The
> message came back that they had tested the film in advance, and that this
> is the way the film was supposed to sound.
>
> They had mounted it on two huge reels, so after the first two or two and a
> half hours there was a break. The whole first half had been shown with this
> wobbly sound, and now I was 100 per cent certain that, however faulty my
> memory of short sections might be, I would have remembered if the sound of
> the whole first half had had that "loose loop" quality. I sent my friend
> back again with the message that someone present had seen the film when it
> was first shown forty years ago and was certain that the film was being
> projected incorrectly. Three students huddled around the projector for
> twenty minutes, investigating the situation. When they finally started the
> second half, the sound was fine.
>
> Is anyone to blame here? Perhaps projectionists could be better trained,
> but that is less and less likely to happen with fewer and fewer films being
> shown on film. Perhaps others in the audience should have recognized the
> telltale sound of film loose around the sound drum, but how rare it is to
> see film on film anymore, and of course for an "experimental" film perhaps
> some would feel that one can never quite be sure what it is "supposed" to
> sound like.
>
> I left thinking how much better the screening would have been for me if
> the film had it been shown on DVD, though of course it is not on DVD. But
> still. The sound is just as important as the image in this film, if not
> more so, and the damage done to the sound was the aesthetic equivalent of
> showing the film severely out of focus, out of focus to the point of an
> almost total blur, a blur that anyone would have loudly objected to,
> whereas the damage done to the image in transfer to digital projection,
> even on a sub-par projector, would have been far, far less.
>
> Those of us, such as myself, who might have at one time self-identified as
> "film fundamentalists," have to awaken, however sadly, to the realities of
> our current situation. I would guess that David made, from my point of
> view, the best possible choice.
>
> At the same time,we should of course support those venues that continue to
> show film on film.
> Fred Camper
> Chicago
>
>
> On 2/28/2017 4:41 PM, Dave Tetzlaff wrote:
>
> I’m more techy-geeky than most. I once tried to get an old pageant arc 
> projector going in an effort to get a brighter image in our schoolo 
> auditorium, but gave up. The technology is not really suitable for infrequent 
> use sans tech support: there’s that massive old-school power supply driving a 
> short-lived arc-lamp, and it’s all ‘analog’ in the sense that if it’s not in 
> tip-top condition it still ‘works’ but in a substandard way. Thus, while I 
> did get the one we had going, the image was far too blue to be usable and not 
> much brighter than a regular Pageant either. I thought about getting a new 
> lamp (dude, it’s not a ‘bulb’) but after checking price, availability, life, 
> and the odds that would make it usable (too dicey), I scrapped the project. 
> Part of that was concluding the best I could get it would still leave any 
> prints I could readily get projected too far out of proper color balance for 
> reasonable aesthetics. I.e. Xenon lamp color 

Re: [Frameworks] pageant arc projectors

[Eric Theise]

Hi Warren,

Thanks. The projector I probably paid too much for came out of Lawrence
Livermore Lab and appeared to have been babied during its tenure there. The
other I heard about via Craigslist and just picked it up from a frustrated
former filmmaker's doorway. Score.

When I do the next round of tests I'll take some more photos and add them
to the Flickr page but basically there are two fixed spring steel (or other
alloy) pieces below the lamp housing; the bulb nestles into those, sits
flush with the mount, and a third piece pivots over at top to hold it in
place. Seems to only pivot correctly from one direction and takes a little
fiddling.

I see Larry's email has come in and he can probably confirm that it's the
EZM MARC 300/16 high intensity are projection lamp?

Eric


On Tue, Feb 28, 2017 at 11:19 AM, Warren Cockerham <
warrencocker...@gmail.com> wrote:

> Hi Eric...
>
> I have a pair of these as well. Mine are in far worse shape. Yours look
> beautiful! I only have one arc lamp power supply for mine. I was only able
> to find one bulb on ebay and it was too large - so the wrong bulb, really.
> I was able to get the bulb to fire up but couldn't figure out how it is
> housed in the machine. Would you mind sending me photos of the bulb in it's
> housing? Could you also let me know what bulb it is? I'll try to dig up the
> info on the bulb I purchased on ebay. It was $50 and from what I hear, they
> don't last long.
>
> I'd LOVE to get these things working!
>
> take care,
> Warren
>
> On Tue, Feb 28, 2017 at 1:13 PM, Eric Theise <ericthe...@gmail.com> wrote:
>
>> Hello frameworkers.
>>
>> I'm using the double projection movement of A Roll for Peter as an excuse
>> to liberate a pair of Pageant Arc projectors from my storage unit. These
>> worked so well when I had a studio that I never gave them a second thought
>> but that was long ago.
>>
>> Running some tests in the gallery yesterday, one bulb stopped working
>> entirely while the other flashes periodically but never lights. While my
>> assumption is simply that the bulbs are toast, it did occur to me that I'm
>> rather ignorant about arc lamps and I wondered if it might be something
>> else, like the circuits in the gallery. Fans and projector mechanisms run
>> fine and no circuit breakers were tripped.
>>
>> A few photos of these beasts at https://flic.kr/s/aHskPUo3rE
>>
>> Would love to hear from the equipment geniuses on the list, and/or from
>> people who have a favorite bulb supplier.
>>
>> Many thanks in advance.
>>
>> Eric
>>
>>
>> ___
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>>
>>
>
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[Frameworks] pageant arc projectors

[Eric Theise]

Hello frameworkers.

I'm using the double projection movement of A Roll for Peter as an excuse
to liberate a pair of Pageant Arc projectors from my storage unit. These
worked so well when I had a studio that I never gave them a second thought
but that was long ago.

Running some tests in the gallery yesterday, one bulb stopped working
entirely while the other flashes periodically but never lights. While my
assumption is simply that the bulbs are toast, it did occur to me that I'm
rather ignorant about arc lamps and I wondered if it might be something
else, like the circuits in the gallery. Fans and projector mechanisms run
fine and no circuit breakers were tripped.

A few photos of these beasts at https://flic.kr/s/aHskPUo3rE

Would love to hear from the equipment geniuses on the list, and/or from
people who have a favorite bulb supplier.

Many thanks in advance.

Eric
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Re: [Frameworks] touring "A Roll for Peter"

[Eric Theise]

Another in my occasional updates about A Roll for Peter, the 16mm
multi-maker Peter Hutton tribute project. A number of venues and dates have
been added since my last email so here's the current list of upcoming
screenings.

1 March: Lexington Film League at 21c, Lexington, KY
7 March: UWM Union Cinema, Milwaukee, WI
13 March: Aggregate Space Gallery, Oakland, CA
18 March: Echo Park Film Center, Los Angeles, CA
1 April: Other Cinema, San Francisco, CA
9 April: Hamilton College F.I.L.M. SERIES/Bradford Auditorium, Clinton,
NY
13 April, NW Film Forum, Seattle, WA
23 April: Cellular Cinema/Bryant-Lake Bowl, Minneapolis, MN
29 April: Iris Film Collective, Vancouver, BC
5 May: Niagara Custom Lab, Toronto, ON
12 May: Visions, Montréal, QC

For information about Saturday's screening at Atlanta's Eyedrum please call
the venue at (678) 813-7860.

That's today's snapshot. The best places to track updates to the tour are
http://erictheise.com/films/a-roll-for-peter/ and https://www.facebook.com/
arollforpeter/ (and why not Like it while you're there?).

There are very few opportunities left for bookings in March, April, or May.
If you run or know of a venue that would like to screen A Roll for Peter
during the first three weeks of February, please be in touch, pronto.

The first two screenings of 2017, at UNEXPOSED Microcinema in Durham
and Sunspot
Cinema/UCF Art Gallery in Orlando, were well received. For the latter,
feedback was: "so lovely… I wish I could see those films again! Such a
great opportunity to see such an ephemeral program", for the former,
simply, "f*cking killer".

Thanks!

Eric


On Tue, Jan 3, 2017 at 3:28 PM, Eric Theise <ericthe...@gmail.com> wrote:

> I'm pleased to let you all know that the tour of A Roll for Peter, the
> Peter Hutton tribute film organized by Jennifer Reeves & Mark Street, has
> eight confirmed dates as we head into 2017, commencing with Friday the 13th
> of January at the UNEXPOSED Microcinema in Durham, NC.
>
> For those of you who don't follow links, the dates/venues thus far are
> 13 January: UNEXPOSED Microcinema, Durham, NC
> 19 January: Sunspot Cinema/UCF Art Gallery, Orlando, FL
> 25 January: Ohio State University, Columbus, OH
> 25 February: Spectacle Society, Dallas, TX
> 1 March: LFL at 21c, Lexington, KY
> 7 March: UWM Union Cinema, Milwaukee, WI
> 9 April: Hamilton College F.I.L.M. SERIES/Bradford Auditorium,
> Clinton, NY
> 23 April: Cellular Cinema/Bryant-Lake Bowl, Minneapolis, MN
>
> and if you do follow links, here's one to the most detailed and up-to-date
> page for the overall project:
> http://erictheise.com/films/a-roll-for-peter/
>
> If you run a series and would like to present A Roll for Peter between now
> and late May 2017, please review the details at that page, then email me
> with some proposed dates.
>
> I've been in touch with people in Albuquerque, Atlanta, Austin, Baltimore,
> Boston, Boulder, Buffalo, Chicago, Detroit, Iowa City, Knoxville, New
> Orleans, Portland (OR), Providence, San Francisco, Seattle, Toronto, and
> Tucson about screenings. Some cases: no reply; some cases: a date &
> location should be announced soon. If you'd like to see A Roll for Peter in
> one of those cities, email me OFF LIST and I'll let you know who I've been
> talking with.
>
> If there's an additional city or venue where you would like the project
> shown, please reply or email me off list with your ideas and
> recommendations.
>
> Thanks for your interest in and support of this project!
>
> Eric
>
>

On Tue, Jan 3, 2017 at 3:28 PM, Eric Theise <ericthe...@gmail.com> wrote:

> I'm pleased to let you all know that the tour of A Roll for Peter, the
> Peter Hutton tribute film organized by Jennifer Reeves & Mark Street, has
> eight confirmed dates as we head into 2017, commencing with Friday the 13th
> of January at the UNEXPOSED Microcinema in Durham, NC.
>
> For those of you who don't follow links, the dates/venues thus far are
> 13 January: UNEXPOSED Microcinema, Durham, NC
> 19 January: Sunspot Cinema/UCF Art Gallery, Orlando, FL
> 25 January: Ohio State University, Columbus, OH
> 25 February: Spectacle Society, Dallas, TX
> 1 March: LFL at 21c, Lexington, KY
> 7 March: UWM Union Cinema, Milwaukee, WI
> 9 April: Hamilton College F.I.L.M. SERIES/Bradford Auditorium,
> Clinton, NY
> 23 April: Cellular Cinema/Bryant-Lake Bowl, Minneapolis, MN
>
> and if you do follow links, here's one to the most detailed and up-to-date
> page for the overall project:
> http://erictheise.com/films/a-roll-for-peter/
>
> If you run a series and would like to present A Roll for Peter between now
> and late May 2017, please review the d

Re: [Frameworks] touring "A Roll for Peter"

[Eric Theise]

I'm pleased to let you all know that the tour of A Roll for Peter, the
Peter Hutton tribute film organized by Jennifer Reeves & Mark Street, has
eight confirmed dates as we head into 2017, commencing with Friday the 13th
of January at the UNEXPOSED Microcinema in Durham, NC.

For those of you who don't follow links, the dates/venues thus far are
13 January: UNEXPOSED Microcinema, Durham, NC
19 January: Sunspot Cinema/UCF Art Gallery, Orlando, FL
25 January: Ohio State University, Columbus, OH
25 February: Spectacle Society, Dallas, TX
1 March: LFL at 21c, Lexington, KY
7 March: UWM Union Cinema, Milwaukee, WI
9 April: Hamilton College F.I.L.M. SERIES/Bradford Auditorium, Clinton,
NY
23 April: Cellular Cinema/Bryant-Lake Bowl, Minneapolis, MN

and if you do follow links, here's one to the most detailed and up-to-date
page for the overall project:
http://erictheise.com/films/a-roll-for-peter/

If you run a series and would like to present A Roll for Peter between now
and late May 2017, please review the details at that page, then email me
with some proposed dates.

I've been in touch with people in Albuquerque, Atlanta, Austin, Baltimore,
Boston, Boulder, Buffalo, Chicago, Detroit, Iowa City, Knoxville, New
Orleans, Portland (OR), Providence, San Francisco, Seattle, Toronto, and
Tucson about screenings. Some cases: no reply; some cases: a date &
location should be announced soon. If you'd like to see A Roll for Peter in
one of those cities, email me OFF LIST and I'll let you know who I've been
talking with.

If there's an additional city or venue where you would like the project
shown, please reply or email me off list with your ideas and
recommendations.

Thanks for your interest in and support of this project!

Eric
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Re: [Frameworks] touring "A Roll for Peter"

[Eric Theise]

Several people have asked for clarification: there is no rental fee.
No one has yet asked but: there is no preview copy available.


On Mon, Nov 28, 2016 at 10:13 AM, Eric Theise <ericthe...@gmail.com> wrote:

> Hello Frameworkers,
>
> You may be aware that Jennifer Reeves & Mark Street, as a tribute to the
> late Peter Hutton, put out a call for submissions of 100 foot rolls of 16mm
> black and white shot with Peter in mind. The compilation, "A Roll for
> Peter", screened at Bard College on 22 October and had a sold out screening
> as part of Mono No Aware's festival in Brooklyn on 9 November.
>
>   http://mononoawarefilm.com/calendar/2016/11/9/mono-x-gowanus-darkroom
>
> Like me, you may have thought: I'd kinda like to see that before it gets
> disassembled.
>
> So. I've volunteered to coordinate a tour of the project. We'll likely
> have a screening in Oakland, CA, during the first half of December and a
> San Francisco screening sometime in 2017. There's also been interest
> expressed in University of Wisconsin Milwaukee and University of Central
> Florida screenings in 2017.
>
> This is an invitation for you to contact me if you'd be interested in
> screening the project between now and May 2017.
>
> There's a single projection segment that runs 45 minutes and a double
> projection segment that runs 15 minutes. A venue needs two comparable 16mm
> projectors and a "wide enough" projection area. Academic venues should not
> charge admission for a screening; microcinemas & artist-run spaces may
> charge enough to cover their expenses. All venues are responsible for
> timely and insured shipping to the next venue on the tour.
>
> I'll note that the two New York screenings also screened Hutton's "New
> York Portrait, Chapter I", but venues would be on their own to rent or
> otherwise screen material beyond "A Roll for Peter".
>
> I'll coordinate dates, put up a page for the project, keep tabs on the
> whereabouts of the reels, and make sure screenings are listed in "This week
> in avant garde cinema".
>
> Please get in touch if this is something you'd like to be a part of.
>
> Thanks, Eric
>
>
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Re: [Frameworks] touring "A Roll for Peter"

[Eric Theise]

Hi Esperanza,

On Mon, Nov 28, 2016 at 12:48 PM, Esperanza Collado <
esperanzacolla...@gmail.com> wrote:

> I wonder, what was the audience reaction to "A Roll For Peter". Is this
> film the result of a selection or anyone who shot a roll got in?
>

I'll start with a disclaimer. Not only have I not seen the completed
project, I have not even seen my contribution. Between work commitments and
landscape being uncooperative, my shooting was delayed for many days. I
shot negative, had to send the footage to Los Angeles for processing, and
the workprint ended up going straight from LA to NYC.

Mark (Street) initially asked me to hold off on arranging a San Francisco
screening but after the two New York screenings he and Jennifer (Reeves)
felt that the project was worth sending out into the world. The most direct
feedback I've seen came from contributor George Griffin, who I quote here
with permission:

"The whole program was a beautiful exchange, like a dream, peripheral
glimpses without a storyline."

I believe that anyone who submitted a roll was included; nearly 40 makers
were involved. Jenn and Mark put a lot of energy into sequencing the rolls
and arriving at the part single-screen, part double-screen solution. The
idea that the project would be short-lived, ephemeral, was baked into the
initial call.

That's pretty much what I know.

Eric
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[Frameworks] touring "A Roll for Peter"

[Eric Theise]

Hello Frameworkers,

You may be aware that Jennifer Reeves & Mark Street, as a tribute to the
late Peter Hutton, put out a call for submissions of 100 foot rolls of 16mm
black and white shot with Peter in mind. The compilation, "A Roll for
Peter", screened at Bard College on 22 October and had a sold out screening
as part of Mono No Aware's festival in Brooklyn on 9 November.

  http://mononoawarefilm.com/calendar/2016/11/9/mono-x-gowanus-darkroom

Like me, you may have thought: I'd kinda like to see that before it gets
disassembled.

So. I've volunteered to coordinate a tour of the project. We'll likely have
a screening in Oakland, CA, during the first half of December and a San
Francisco screening sometime in 2017. There's also been interest expressed
in University of Wisconsin Milwaukee and University of Central Florida
screenings in 2017.

This is an invitation for you to contact me if you'd be interested in
screening the project between now and May 2017.

There's a single projection segment that runs 45 minutes and a double
projection segment that runs 15 minutes. A venue needs two comparable 16mm
projectors and a "wide enough" projection area. Academic venues should not
charge admission for a screening; microcinemas & artist-run spaces may
charge enough to cover their expenses. All venues are responsible for
timely and insured shipping to the next venue on the tour.

I'll note that the two New York screenings also screened Hutton's "New York
Portrait, Chapter I", but venues would be on their own to rent or otherwise
screen material beyond "A Roll for Peter".

I'll coordinate dates, put up a page for the project, keep tabs on the
whereabouts of the reels, and make sure screenings are listed in "This week
in avant garde cinema".

Please get in touch if this is something you'd like to be a part of.

Thanks, Eric
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Re: [Frameworks] optically printed film on people swimming laps in a pool

[Eric Theise]

Even if it's not Will Hindle's Watersmith, I'm glad to be reminded of it.

On Sun, Mar 13, 2016 at 3:29 AM, Pip Chodorov 
wrote:

> You mean Water Pulu by Ladislav Galeta?
>
>
> At 18:26 -0800 12/03/16, vanessa renwick wrote:
>
>> I am trying to remember who made this short, beautiful movie that was an
>> optically printed film on people swimming laps in a pool.
>>
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Re: [Frameworks] experimental films involving minerals

[Eric Theise]

Richard Serra, Hand Catching Lead, 1968
http://artforum.com/video/mode=large=25373


On Thu, Feb 25, 2016 at 12:58 PM, Gene Youngblood 
wrote:

> If sand qualifies as a mineral, see Nathaniel Dorsky’s Alaya.
>
> > On Feb 25, 2016, at 1:40 PM, Peggy McShine 
> wrote:
> >
> > Hello Frameworkers,
> >
> > I'm looking for experimental films involving minerals. Any examples?
> >
> > Thanks a lot,
> >
> > Peggy
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>
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Re: [Frameworks] historical question

[Eric Theise]

Michael,

I noticed that on page 281 of
http://monoskop.org/images/9/9a/Foster_Stephen_C_Hans_Richter_Activism_Modernism_and_the_Avant-Garde.pdf
, as part of the section called Books, Pamphlets, there's a mention of

Film and Progress. Not published in full; published in part in
the Neue Zu¨rcher Zeitung.American version of Der Kampf
um den Film, prepared in collaboration with Herman Weinberg,
New York, 1939–42.

which fits the date pretty well. That manuscript turns out to be in Yale's
collection.
http://www.worldcat.org/title/hans-richter-papers-1916-1973/oclc/795896197referer=brief_results

There's also a guide to the Richter Archive at the Museum of Modern Art (
https://www.moma.org/learn/resources/archives/EAD/HansRichterf) that has
some candidates for what you're looking for.

Eric


On Fri, Apr 3, 2015 at 4:16 PM, Michael Betancourt 
hinterland.mov...@gmail.com wrote:

 Great, thanks! I didn't realize that was the case. My impression was he
 wrote something (or expanded it) for the Art in Cinema symposium book since
 it so closely mirrors the program.

 M

 Sent from my iPhone

 On Apr 3, 2015, at 6:11 PM, Dominic Angerame dominic.anger...@gmail.com
 wrote:

 It is in the Art in Cinema catalog for the first cinematheque in the
 world created by Frank Stauffacher here in San Francisco during that time
 period. The article is on page #6 of the original catalog reprinted by
 Scott M. dated 1947.

 Dominic Angerame

 On Fri, Apr 3, 2015 at 1:49 PM, Michael Betancourt 
 hinterland.mov...@gmail.com wrote:

 On pg 34 of MacDonalds book Art In Cinema, there is a letter from Hans
 Richter in which he mentions a pamphlet on the history of avant-garde film
 he wrote, published in 1943. Does anyone have/know of a copy they could
 share with me? I've been looking and can't find it--or any other reference
 to it

 Thanks in advance

 Michael Betancourt
 Savannah, GA
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Re: [Frameworks] Derivés and City Symphonies

[Eric Theise]

James Benning’s 9/1/75?

P.S. Having made this mistake myself, the correct spelling is dérive, not
derivé, see: http://en.wikipedia.org/wiki/D%C3%A9rive

On Sun, Mar 1, 2015 at 4:08 PM, Carl E Bogner crlel...@uwm.edu wrote:

  ​

 Matt McCormick’s _Subconscious Art of Graffitt Removal_, perhaps?



  --
 *From:* FrameWorks frameworks-boun...@jonasmekasfilms.com on behalf of
 Eli Horwatt ehorw...@gmail.com
 *Sent:* Sunday, March 1, 2015 5:44 PM
 *To:* Experimental Film Discussion List
 *Subject:* Re: [Frameworks] Derivés and City Symphonies

  Hollis Frampton's Surface Tension

  Wolf Vostell's Notstandbordstein sort of flips the derive - it turns the
 streets themselves into a screen - but the images are projected outside of
 a car, so it may not be appropriate. Youngblood talks about it in Expanded
 Cinema and there's a copy I believe at Filmmaker's Co-op.




 On Sun, Mar 1, 2015 at 6:25 PM, Jason Halprin jihalp...@gmail.com wrote:

  Off the top of my head, here are two that might fit:

  Bruce Biaille - Castro Street
 Richard Myers - Zocalo


   Jason Halprin
 jihalp...@gmail.com

  On Sat, Feb 28, 2015 at 10:47 PM, Kelsey Velez kelsve...@hotmail.com
 wrote:

   Framworkers,

 I'm seeking suggestions for film based derivés, shot on 16mm or 8/s8mm.
 If you have an outstanding example of a video derivé to share, please feel
 welcome to do so. Anything in the vein of Tomonari Nishikawa's *Market
 Street* is ideal, but if you are particularly keen on a
 representational piece that does something interesting viz. the derivé,
 don't hold back.

  kv

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[Frameworks] paul sharits: birthday, retrospective, artforum review

[Eric Theise]

Paul Sharits would have been 72 today. There's a review by Marc Siegel in
February's Artforum of “Paul Sharits: A Retrospective”, on view through 22
Feb at the Fridericianum, Kassel, Germany.

https://artforum.com/inprint/issue=201502id=49790
http://www.fridericianum.org/exhibitions/paul-sharitsbr-a-retrospective
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Re: [Frameworks] Books on the History of Avant-Garde film in US

[Eric Theise]

On Fri, Jan 30, 2015 at 9:36 AM, Adam Hyman a...@lafilmforum.org wrote:

 Off to meandering nit-picking:

 What is the correct bibliography format for a reader?  Shouldn’t it still
 really be under Kuchar’s name (or Markopolous’s)?  Been too long since
 college  MLA Standards...
 Looking it up...
 https://owl.english.purdue.edu/owl/resource/747/06/


snip.

One of the real advantages of systems like Zotero, Endnote, and the like is
that they break bibliographic information into fields and store them in a
database. When it comes time to publish or generate a list, you can select
from many known formats. I was going to say hundreds of different ones, but
Zotero claims to know about thousands of styles (6,750) (
https://www.zotero.org/support/styles).

Since Zotero is a project of the Roy Rosenzweig Center for History and New
Media, and was initially funded by the Andrew W. Mellon Foundation, the
Institute of Museum and Library Services, and the Alfred P. Sloan
Foundation, I assume they've given serious consideration to the library
science underlying the chosen database structure.

Oh, and as I try and keep up with the suggestions coming over frameworks,
please know that I am not purely cutting-and-pasting them into the library,
but searching for them in WorldCat.org, then importing, so that the Zotero
library builds on the collections and work of many others. We get the
ISBNs, page numbers, publishers, etc. for free.

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

[Eric Theise]

I want to thank Michael for kicking off this discussion, and for posting
his list before asking for others to contribute; good form!

I've suggested this before, but I'm putting my suggestion into action with
this thread. I've created a shared bibliography using Zotero:

https://www.zotero.org/groups/experimental_cinema

What is Zotero?

Zotero [zoh-TAIR-oh] is a free, easy-to-use tool to help you collect,
organize, cite, and share your research sources.

When I was in grad school, Endnote was a popular, for-pay software package
that served a similar function. Zotero's free, it displays over the web,
and it integrates with open source software such as Libre Office and Open
Office as well as Microsoft Word. It also hooks into WorldCat or other
online library catalogs so that you should be able to get a list of nearby
libraries that carry resources you're interested in.

If you'd like to help build this bibliography, email me (off list) and I'll
add you to the group. It'd be nice to grow this, and start, oh, tagging
books and articles with the names of filmmakers given significant treatment.

Eric

P.S. Using Zotero uncovers a couple of typos.

Sheldan should be Sheldon, Turin should be Turim, Parker Tyler's
The Underground Film was not published in 1698, and Exhibiting art in
contemporary cinema should be Exhibiting cinema in contemporary art.
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Re: [Frameworks] Alternative Projections: Experimental Film in Los Angeles, 1945-1980 book coming soon

[Eric Theise]

Hi Adam,

On Wed, Jan 21, 2015 at 7:43 PM, Adam Hyman a...@lafilmforum.org wrote:

  Coming out soon:

 *http://www.amazon.com/Alternative-Projections-Experimental-Angeles-1945-1980/dp/0861967151
 http://www.amazon.com/Alternative-Projections-Experimental-Angeles-1945-1980/dp/0861967151*


Congratulations.

We will also be putting together a four or five program screening series to
 accompany for anyone interested.  Please let me know.  Thanks!


I read that as primarily a call-to-action for programmers in other cities,
but I'm curious what and when you'll do at the Los Angeles Filmforum to
celebrate and explicate your book's publication. By the time screenings
appear in This Week... there's usually not enough time for me to plan a
trip down from San Francisco.

Eric
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Re: [Frameworks] Turner and Film

[Eric Theise]

I was reviewing some of the frameworks threads I highlighted this year and
wondered what became of the Tate Etc. Magazine article mentioned in this
one. It appeared as

http://www.tate.org.uk/context-comment/articles/light

and provoked

http://www.timcawkwell.co.uk/brakhage-and-turner

Eric


On Fri, Mar 7, 2014 at 5:12 AM, Gawthrop, Rob rob.gawth...@falmouth.ac.uk
wrote:

 Hi Aaron

 It would be worth looking at English experimental filmmakers working with
 landscape in the 70s-80s - William Raban, Jo Millett, Chris Welsby and
 Malcolm LeGrice etc. all figure - as landscape painting (impressionism in
 particular) was frequently cited.  To claim direct influence is difficult
 but when working with landscape imagery it is impossible to not be aware of
 Turner's work and influence cannot be denied.  The book/catalogue A
 Perspective on English Avant-Garde Film: A Touring Exhibition and the
 Landscape edition of Undercut magazine give a good survey of that period.
 I
 can also acknowledge both Turner and Monet in my own film Preservation
 which uses the steam from steam trains to bleach-out the image while
 exploring representations of speed and fluctuations of light.

 Best Wishes

 Rob


 On 26/02/2014 16:16, Aaron Juneau aaron.jun...@tate.org.uk wrote:

 
  Dear frameworks members,
 
  I'm contacting from Tate Etc. Magazine, London in the hope that somebody
 at
  Frameworks might be able to help me with some research I'm undertaking
 with
  regard to an article we're publishing in a couple issues time.
 Essentially the
  article will focus on J.M.W Turner's influence on film. I was wondering
  whether somebody at Frameworks could advise on some interesting, perhaps
 less
  known filmmakers who have been influenced by him? I'm really looking at
 hard
  fact and solid evidence as opposed to conjecture.
 
  Any assistance you can offer would be greatly appreciated.
 
  My very best,
 
 
 
  Aaron Juneau
  Editorial Assistant
  TATE ETC. magazine
  20 John Islip Street
  Millbank
  London
  SW1P 4RG
  T: +44 (0)20 7821 8606
  F: +44 (0)20 7887 3940
  E: aaron.jun...@tate.org.uk
  www.tate.org.uk/tateetc
  follow us on Twitter: @TATEETCmag
 
 
 
 
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Re: [Frameworks] Fwd: Your membership in the mailing list FrameWorks has been disabled

[Eric Theise]

Application of anti-spam measures that don't comply with Internet protocols
are causing problems for mailman, the software that runs this list.

Pip, maybe you can contact tech support at webfaction and ask them if they
can set the from_is_list option discussed in this thread

  https://mail.python.org/pipermail/mailman-users/2014-April/076675.html

or this how-to

  http://wiki.list.org/pages/viewpage.action?pageId=17891458

Eric


On Tue, Dec 16, 2014 at 1:38 PM, Marcin Gizycki mgizy...@hotmail.com
wrote:

   Yeah, I agree, this is annoying and something has to be done about it.
 I do not want to be forced to re-activate myself every few months.

 Marcin


  *From:* Michael D michael...@hotmail.com
 *Sent:* Tuesday, December 16, 2014 9:02 PM
 *To:* Experimental Film Discussion List frameworks@jonasmekasfilms.com
 *Subject:* Re: [Frameworks] Fwd: Your membership in the mailing list
 FrameWorks has been disabled

  I get this sporadically too.  I re-activated myself just the other day.

  --
 From: televis...@hotmail.com
 Date: Mon, 15 Dec 2014 15:24:00 -0800
 To: frameworks@jonasmekasfilms.com
 Subject: [Frameworks] Fwd: Your membership in the mailing list FrameWorks
 has been disabled

 This needs to be figured out.

 Tim

 Sent from my iPad

 Begin forwarded message:

  *From:* frameworks-requ...@jonasmekasfilms.com
 *Date:* December 15, 2014 at 2:34:54 PM PST
 *To:* televis...@hotmail.com
 *Subject:* *confirm 6fe28d23516caf202df262848c16941d80a8b87e*

  Your membership in the mailing list FrameWorks has been disabled due
 to excessive bounces The last bounce received from you was dated
 15-Dec-2014.  You will not get any more messages from this list until
 you re-enable your membership.  You will receive 3 more reminders like
 this before your membership in the list is deleted.

 To re-enable your membership, you can simply respond to this message
 (leaving the Subject: line intact), or visit the confirmation page at


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 You can also visit your membership page at


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 On your membership page, you can change various delivery options such
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Re: [Frameworks] films on film-making/unfinished films

[Eric Theise]

I've been keeping an eye on this thread, and every time a new message comes
across, it makes me think of these two examples, possibly too tangential to
the original poster's intent.

Two Films I Never Made (1973), by Herbert Jean de Grasse. It's just 4
minutes of black leader where the filmmaker relates what we'd be seeing had
he made the films. A bit of a throwaway, but I seem to recall we showed it
more than once at the Experimental Film Coalition screenings in Chicago and
audiences enjoyed de Grasse's mischievous narration.

http://canyoncinema.com/catalog/film/?i=740

I was sad to learn that Mr. de Grasse passed away towards the end of 2012.
http://napavalleyregister.com/obituaries/herbert-jean-de-grasse/article_44ac2036-522d-11e2-9383-0019bb2963f4.html

And for a musical example, John Darnielle (The Mountain Goats) has a side
project with Franklin Bruno called The Extra Lens, and the song Only
Existing Footage on their recording Undercard (2010) chronicles the
unraveling of a film project.

Annihilation pouring since it found out where I drink.

Eric


On Sun, Dec 14, 2014 at 7:26 AM, paris-experimen...@numericable.fr wrote:

  in 2003-2006 I tried to recompose an unfinished (experimental) film left
 by one of my student/
 Here is the beginning of the film
 *OUT OF (k)NOWHERE : A FILM BY ANNE PRAT* (2003-2006)

 DV, bw/color, sound, 24 min.





 *« Ouverture »*



 Very little was left of the film by Anne Prat, a brilliant student who
 studied cinema with me at the University of Paris in the 1970s.

 Anne Prat was not just any student. She would usually arrive twenty
 minutes before the end of class – something that I found rather annoying –
 and only to see the screening of the avant-garde films that concluded each
 lesson. Three weeks before summer break in 1976, even though she had not
 taken part in any of practical lessons, she presented a short film, shot in
 the Brakhage style, which surprised all of us with its technical mastery.
 She informed me she was going to stop studying and go to Australia, and
 that her film was just the beginning of a larger and more complicated
 cinematographic work.

 Two years later, I found out that Anne Prat, after returning to Paris, had
 found work in a film lab for the sole reason of being able to develop for
 free the numerous reels she had shot and to duplicate, on the sly and for
 herself, some classic films she particularly liked. All this in order to
 realize her ambitious film project, on which she worked tirelessly, which
 consisted of a large composition for two film projectors, and various sound
 fragments. She described certain passages to me, speaking of «images and
 sounds that come out of nowhere, as if in a daydream» and revealed the
 film’s definitive title: *Out of (k)nowhere*.

 A few weeks later, Anne Prat left a message on my answering machine,
 informing me that she was returning to Australia. She told me that she had
 left the material for her film at the university, in a big box, and asked
 me to pick it up. At that time, I had no idea I would never going to see
 her again.

 In November of 2002, while creating an inventory of my films, I
 rediscovered that big box. I thought back on Anne Prat’s project, and
 remembered her story and what she had told me twenty years earlier.

 So I started viewing the film and listening to the sound recordings, one
 after another, in the designated numerical order. In the box, I only found
 one rough scenario that indicated that the film was to be two hours long
 overall and divided into a number of parts, separated from each other by
 silence, darkness and the songs of exotic birds. There was a cassette
 attached to the notes, of the bird songs, recorded by Australian
 ornithologist John N. Hutchinson.

 Using my memory as the starting point, and the material left by Anne Prat,
 I have tried to reconstruct that which *Out of (k)nowhere* could have
 been.

 The film begins with the short, silent Brakhage-style work, meant for only
 one screen. Later, where it was possible, I reconstructed the dual-screen
 projection according to the directions in the outline.

 C. L., Paris, 7 May 2003
  This film is not on line.
 If you have any interest, please contact me off list to get a DVD

 Christian Lebrat
 F-Paris

  Message d'origine 
 De : Adam Sekuler asekuler0...@gmail.com
 À : Experimental Film Discussion List frameworks@jonasmekasfilms.com
 Objet : Re: [Frameworks] films on film-making/unfinished films
 Date : 10/12/2014 15:38:08 CET


 Raya Martin and Mark Peranson's  La última película



 On Dec 10, 2014, at 7:11 AM, christopher nigel 
 christophernige...@gmail.com wrote:

 The last movie  By Dennis Hopper , Hopper was in many ways! way head !

 On Mon, Dec 8, 2014 at 8:15 PM, Adam Hyman a...@lafilmforum.org wrote:

  More documentaries about:

 Jodorowsky’s Dune (2014)
 http://jodorowskysdune.com/

 Henri-Georges Clouzot's Inferno (2009):
 

Re: [Frameworks] Process Advice

[Eric Theise]

Hi Vail,

Not sure if you're just looking at the chemistry aspects of this, but
there's a long tradition of rayographs in experimental film, Man Ray's own
Return to Reason (1923) being an early example,
https://archive.org/details/returnToReasonleRetourLaRaison1923 . Len Lye
used it in Color Cry (1952), I expect Norman McLaren explored it, and there
are many other examples up to the present day.

For my 2002 film, Hojas de Maíx, I worked in a dark room, though not a wet
darkroom, and contact printed strips of etchings directly to 8 foot long
lengths of 16mm on a light table I built. Stills at
http://erictheise.com/films/hojas-de-maiz/

Robert Schaller's quite an expert on this subject (
http://www.robertschaller.org/), perhaps he'll be along momentarily with
other suggestions.

Eric



On Thu, Nov 6, 2014 at 11:16 AM, Alvalia Pemberton pemberto...@vcu.edu
wrote:

 Hello,

 I'm a Photography and Filmmaking major and am working on a project where
 I'd like to try using experimental darkroom photography techniques on 16mm
 and make a film out of it. Do you have any process or films to recommend
 watching?

 Vail

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[Frameworks] os x workflow for the web

[Eric Theise]

Hello frameworkers,

tl;dr: I want to generate html5-friendly videos from DVD clips that
stay below 50Mb.

I give talks, and use reveal.js (http://lab.hakim.se/reveal-js/) as my
presentation framework. I occasionally want to include excerpts of
films ripped from DVDs. As reveal.js is an html5 framework, I want to
use the video tag to display media. There is conflicting information
out there, but my understanding is that .mp4 and .webm are the formats
best-supported by contemporary browsers. When the presentations feel
complete, I publish them on GitHub. I would like it if anyone could
view the presentations, but it's most important that they work for
either Chrome or Safari on Mac OS X and I am not going to jump through
hoops to make them universally available.

I've used various strategies over the past few years, but do it
infrequently enough that I can't always recollect what I did, and I'd
like help nailing down a workflow that meets my needs.

Most recently, I used Fairmount to copy files and get them into .m4v
format. When I did this a year ago, the results were in .dv format. I
don't recall what I did differently. I use iMovie to edit the clips,
then Share:File, where I have several options to export to .mp4.
Unfortunately, one of the clips I want to use ends up being 58Mb, and
GitHub has a limit of 50Mb.

I have Apple's Compressor which lets me generate .mov files that are
below the limit. But .mov files are not recommended for html5. There
are free and open source tools  services that convert .mov to .mp4,
but this doesn't feel like the right way to go.

What is the right way to go? Ideally I'd like to say: give me an .mp4
or .webm file of the highest quality possible given a 50Mb size limit.

Any suggestions? Thanks for your consideration.

Eric
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[Frameworks] breer's floats in london

[Eric Theise]

Sort of interesting to read that Robert Breer's Floats (1970) are
being resurrected and were on display at the London Frieze Art Fair
over the weekend.

http://www.artspace.com/magazine/news_events/best-art-of-frieze-2014

Artspace tips their cards with While his films grew in acclaim, Breer
lost his gallery and fell off the art map for nearly three decades.

Eric
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Re: [Frameworks] Earth Day/environmental film series

[Eric Theise]

On Thu, Oct 16, 2014 at 6:25 PM, Jesse Pires jessepire...@gmail.com wrote:
 Hi, I'm looking for recommendations of short films that address
 environmentalism and ecological themes. I'm especially interested in work
 from the 1960s and 70s as the environmental movement was taking shape. Peter
 Hutton's In Marin County is the first thing that comes to mind. Thanks.

37 minutes might not qualify as short, but you might consider Robert
Frank's Life-Raft Earth (1969).

http://www.mfah.org/films/robert-frank-collection/

Eric
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Re: [Frameworks] need to recycle tape stock

[Eric Theise]

Hi Valerie,

GreenCitizen accepts Tape based media (VHS/cassettes, floppy disks)
at their 2nd and Howard location in San Francisco
(http://www.greencitizen.com/electronics-recycling-san-francisco/).
I've taken a number of old computers and peripherals there in recent
years with the hope that they're able to find ethical and productive
use for the equipment or raw materials.

Eric


On Fri, Sep 12, 2014 at 5:53 AM, Francisco Torres fjtorre...@gmail.com wrote:
 some electronic surplus stores deal with tv/video stuff...
 http://www.edn.com/electronics-blogs/the-emc-blog/4412972/Review--Bay-Area-surplus-stores

 2014-09-11 16:37 GMT-04:00 Valerie Soe v...@sfsu.edu:

 I've got a ton of various formats of videotape that I'm trying to recycle
 and am looking for any hints about how to dispose of them in an ecologically
 sound manner, i.e., not send to landfill. Most of it is b-roll, window dubs,
 or raw footage so my local thrift store is not interested. Any suggestions
 would be helpful. I'm in the SF Bay Area.

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[Frameworks] Fwd: Film as Film: The Collected Writings of Gregory J. Markopoulos. Now available for pre-order.

[Eric Theise]

Some of you may have already seen this, as it came across The Temenos'
mailing list a few days ago, but I thought I'd forward it along for those
who weren't aware.



 The Visible Press is pleased to announce its first
publication.View
this email in your browser
http://the-temenos.us2.list-manage.com/track/click?u=8cb008d06931c139640856ab2id=5ced72cb8be=7146e41c62
http://the-temenos.us2.list-manage1.com/track/click?u=8cb008d06931c139640856ab2id=7740c1b312e=7146e41c62
*THE
VISIBLE PRESS is pleased to announce its first publication. FILM AS FILM:
THE COLLECTED WRITINGS OF GREGORY J. MARKOPOULOS *is available for
pre-order now. UK  Europe orders will be shipped from The Visible Press in
August. USA orders will be dispatched in early September.
 *Film
as Film*
*The Collected Writings of Gregory J. Markopoulos *
(The Visible Press, 2014)PRE-ORDER NOW !!!
http://the-temenos.us2.list-manage.com/track/click?u=8cb008d06931c139640856ab2id=90973f0533e=7146e41c62
   Price
: £ 20 / € 25 / $30

Order online direct from
*THE VISIBLE PRESS*

Price including shipping :
UK = £24
USA = £25
Europe = £28
Rest of World = £32




*FILM AS FILM: THE COLLECTED WRITINGS OF GREGORY J. MARKOPOULOS Edited by
Mark Webber. Foreword by P. Adams Sitney The Visible Press, September 2014*

*Film as Film: The Collected Writings of Gregory J. Markopoulos *contains
some ninety out-of-print or previously unavailable articles by the
Greek-American filmmaker who, as a contemporary of Kenneth Anger, Stan
Brakhage and Andy Warhol, was at the forefront of a movement that
established a truly independent form of cinema. Beginning with his early
writings on the American avant-garde and auteurs such as Dreyer, Bresson
and Mizoguchi, it also features numerous essays on Markopoulos’ own
practice, and on films by Robert Beavers, that were circulated only in
journals, self-published editions or programme notes. The texts become
increasingly metaphysical and poetic as the filmmaker pursued his ideal of
Temenos, an archive and screening space to be located at a remote site in
the Peloponnese where his epic final work could be viewed in harmony with
the Greek landscape. Gregory J. Markopoulos (1928-1992) is a unique figure
in film history, whose life’s work stands in testament to his strength of
vision and commitment to the medium.

“This collection of writings by a key figure of the New American Cinema
complements, illuminates and extends an incomparable body of work. Equal
parts theory, criticism and mythical prose, the texts reflect the charisma
and originality of its author – and his enduring romanticism. Brandished by
the same absolutes and passion that fuel his films, *Film as Film* is a
seminal addition to film scholarship and film history.”
- Andréa Picard, Toronto International Film Festival

“For the first time the full depths of Gregory Markopoulos’ rigorous
imagination can be fathomed. Film as Film is an indispensable companion to
Markopoulos’ unique cinema and a fascinating chronicle of his probing
thoughts on filmmaking.”
- Haden Guest, Harvard Film Archive
*SPECIAL EVENTS IN 2014-2015*
--
THE PUBLICATION OF FILM AS FILM WILL BE CELEBRATED AT NUMEROUS SCREENINGS
AND SPECIAL EVENTS, COMMENCING IN NEW YORK AND THE US EAST COAST IN
SEPTEMBER.
FULL DETAILS OF THESE PROGRAMMES, AND OTHERS TO FOLLOW IN EUROPE AND
FURTHER AFIELD, WILL BE ANNOUNCED AT WWW.THEVISIBLEPRESS.COM/EVENTS
http://the-temenos.us2.list-manage1.com/track/click?u=8cb008d06931c139640856ab2id=90860ab0ece=7146e41c62
[image:
The Dead Ones]   *Copyright © 2014 The Visible Press, All rights
reserved.*
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[Frameworks] Fwd: LUX DVD Launch: Guy Sherwin / Nicky Hamlyn - Cafe OTO 2nd July, 7pm

[Eric Theise]

Just received an email from LUX, which prompts me to send a public
note of congratulations to frameworker Nicky Hamlyn re:

  
http://www.lux.org.uk/whats-on/events/dvd-launch-guy-sherwin-nicky-hamlyn-cafe-oto-2nd-july-7pm

Is any US distribution of these discs planned?

Eric


LUX DVD Launch: Guy Sherwin / Nicky Hamlyn - Cafe OTO 2nd July, 7pm

Cafe OTO, 18 - 22 Ashwin Street, Dalston, London, E8 3DL
Wednesday 2nd July, 7pm
£4, tickets available from Cafe OTO

To mark the launch of two new LUX DVD releases (Guy Sherwin - Short
Film Series 1975 - 2014 and Nicky Hamlyn - Selected Works 1974 – 2012)
we present a special evening of screening and conversation with two of
the UK's most renowned artist filmmakers, Guy Sherwin and Nicky
Hamlyn. Each will present a personal selection of the other's films
and together they will discuss their work and practices within wider
British artists' moving image over the past 40 years.

The new DVDs and other LUX publications will be available for a
special launch price on the night.

Films to be shown include Da Capo: Variations on a Train with Anna,
Guy Sherwin, 2000 Canon, Guy Sherwin, 2000 Night Train, Guy Sherwin,
1979 White Road, Nicky Hamlyn, 1999 Tobacco Shed, Nicky Hamlyn, 2010.

Guy Sherwin studied painting at Chelsea School of Art in the late
1960s. His subsequent film works often use serial forms and live
elements, and engage with light and time as fundamental to cinema.
Recent works include performances that use multiple projectors and
optical sound, and installations made for an exhibition space. Sherwin
taught printing and processing at the London Film-Makers' Co-op (now
LUX) during the mid-70s. His films were included in 'Film as Film'
Hayward Gallery 1979, 'Live in Your Head' Whitechapel Gallery 2000,
'Shoot Shoot Shoot' Tate Modern 2002, 'A Century of Artists' Film 
Video' Tate Britain 2003/4. He also curated a major retrospective of
expanded cinema, 'Film in Space' at Camden Arts Centre in 2013.

Nicky Hamlyn is an internationally renowned and respected artist
having completed over forty films and videotapes since 1974 that have
been shown at venues around the world including the Images Festival in
Toronto, the New York Film Festival, National Film Theatre and the
Tate Britain. Nicky was an active member of the London Filmmakers
Co-operative, co-founder and editor of Undercut journal and is the
author of ‘Film Art Phenomena', a survey of experimental film and
video’ (BFI, 2003). He teaches at University for the Creative Arts,
Canterbury and the Royal College of Art, London.

Further info about each DVD can be found in the LUX Shop:
Short Film Series 1975 - 2014 - Guy Sherwin
  
http://www.lux.org.uk/shop/products/dvds/short-film-series-1975-2014-guy-sherwin

Nicky Hamlyn - Selected Works 1974 – 2012
  
http://lux.org.uk/shop/products/dvds/nicky-hamlyn-selected-works-1974-%E2%80%93-2012
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Re: [Frameworks] CBS goes Underground

[Eric Theise]

Time. 4/3/1964, Vol. 83 Issue 14, p98. 3p.

No one has heard much about movies like Breath-Death, Cosmic Ray, and
Stone Sonata, but now the Ford Foundation has begun pouring tuns of
gold on the happy heads of the people who made them. The foundation
has decided to encourage the art of film as practiced by lone stylists
whose pictures are usually brief, almost always 16-mm., and sometimes
comprehensible only to themselves.

Accordingly, Ford sought a list of 177 candidates, invited them to
send sample films, then picked twelve winners. Most got $10,000. The
total grant was $118,500.

Presumably, the foundation screened all the pictures they prized, but
viewed collectively, the winning films are a varietal riot. Some are
mad, some methodical. Some are suitable for the living room and others
for a smoker at the Elks. This one is conventional. That one is wildly
experimental. This honest. That phony. How one panel of judges could
have agreed on the twelve grantees defeats the unfoundationed
imagination.

Some of the winners: Stanley Vanderbeek, 32, is a tireless man with
scissors. He cuts pictures out of magazines?all kinds of magazines?and
stirs them into film clips in a kind of stiff puppet action that
writes a curious chapter in the manual of animation. In Skulduggery,
Harry Truman comes popping out of the mouth of a sumptuous girl; then
a hammer comes out of her nose and knocks Harry back between her
chops. Breath-Death shows Harpo Marx playing his harp on the edge of a
smoking battlefield. Khrushchev appears, sneezes, and Hitler pops up
and says Gesundheit. A Merlin-like figure suddenly gets stuck in the
back of the neck with a flying table fork. A nude appears, with two
small skulls where her breasts should be. Another girl lies in bed
caressing a TV set on the pillow beside her. Reading downbed from the
TV set is a spread-out man's shirt and a pair of trousers. Kind of
anemic, this lover, but what a fat head.

In all, Vanderbeek showed Ford three of his five-to-ten-minute
Visible Fill'ms?each no doubt having some subtle message that anyone
with millions to give away would instantly grasp. In A La Mode, for
example, a girl carries her breasts on a tray with miscellaneous
fruits. An automobile drives up hill and down dale across a pair of
giant breasts. A woman's face comes off, revealing an opera .house
inside her head. A bird comes out of a pore in her back.

Vanderbeek, a New Yorker now heading upstate, is about to move his
wife and two children into a house he is making out of old water
tanks. I think the film's only hope is experimental cinema, he says.
The whole commercial cinema of neoreality is fundamentally
pornographic and does not contribute to one's soul. It is not
sensitive. The cinema needs people of private vision. We are living in
an avalanche of entertainment fallout, and how does one survive when
bombarded by clumsy ideas? The film should be in the hands of poets
rather than just slick, literate stylists.

Hilary T. Harris, 34, also a New Yorker, is a slick and literate
stylist and then some. His Seawards the Great Ships is a 29-minute
color documentary on the shipbuilders of the Clyde in Scotland. He
shows, rivet by plate, how ships are built. The picture won an Oscar
two years ago. Harris also does shorter, impressionistic pieces. In
Highway, he zips up, down, and under Manhattan's West Side Highway by
night and day, sketching the rhythm of the roadway until it fairly
comes alive. My main preoccupation in film is with rhythm, and then
color, he says. As if to prove it, he will use his $10,000 to make a
film on the dance.

Jordan Belson, 37, will let almost no one (but foundations) see his
movies unless they come to his studio in San Francisco for private
screenings. His work is a brilliant arrangement of patterns of music,
light, and color, a world of flashing pinpoints, symmetrical dots and
fiery globes. There is a crucible into which all phenomena can be
resolved, says Belson. If any medium can accomplish this, I am
convinced it will be the film. My work penetrates deeper. It opens the
doors to a universe that isn't even considered by people working in
the medium.

Bruce Conner, 30, begins his A Movie (which lasts only twelve minutes)
with a shot of a young and magnificently shaped woman sitting in
profile, like Whistler's Mistress, wearing only a black garter belt.
Cut. Savage Indians are next, seen slaughtering defenseless pioneers.
An elephant charges furiously. Racing cars crash in clouds of dust and
fire. A girl lies languidly back on a bed. Dissolve to a submerged
submarine shooting a torpedo. The H-bomb goes off. Motorcycles race
through mud. A biplane crashes into a lake. That famous Tacoma bridge
whips in the wind and collapses. The Hindenburg bursts into flame. A
ship sinks. A firing squad fires. Bodies hang upside down in Rome.
Bruce Conner could be interpreted as a kind of Cotton Mather XXIII.
His point seems to be that if you start with a beautiful nude, death
and 

Re: [Frameworks] Muybridge and moving image art

[Eric Theise]

Hi Jesse,

As one example, Paul Glabicki animates Muybridge images throughout Object
Conversation.

Apart from that example, I'll say that I've not found the use or animation
of Muybridge stills to be an indicator of top notch work.

Eric



On Thu, May 15, 2014 at 1:13 PM, Jesse Pires jessepire...@gmail.com wrote:

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

 -Jesse Pires

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Re: [Frameworks] Looking for films about the radio and on air diffusion

[Eric Theise]

Not sure if this is within the bounds of what the original poster had
in mind, but this discussion is making me think of the injection of
live radio broadcasts into one section of Ken Jacobs' Blonde Cobra.


On Thu, May 8, 2014 at 6:52 PM, Mike Kartje mkar...@siu.edu wrote:
 Guy Maddin's Brand on The Brain! (2006) includes a radio-like aerophone
 that the mother uses to command and spy on her children.


 On Thu, May 8, 2014 at 5:06 PM, Peter Snowdon pe...@redrice.net wrote:

 The King of Marvin Gardens.
 The Ploughman's Lunch.

 Valentina Monti has made a series of documentaries about radio stations in
 Argentina, Afghanistan, etc.
 http://www.valentinamonti.com


 On 8 May 2014, at 22:00, Jorge Lorenzo Flores Garza wrote:

 Jesse Lerner's T.S.H. is a wonderful cutup film-sound piece that uses
 an old avant-garde Mexican poem by Kyn Tanilla from the 20's that talks
 about the first radio transmission in Mexico.

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 --
 Mike Kartje
 Southern Illinois University Carbondale
 (618) 303-5154
 mkar...@siu.edu

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

[Eric Theise]

Dream of the Wild Horses / Le songe des chevaux sauvages (1960), Denys
Colomb Daunant

Rat Life and Diet in North America (1968), Joyce Wieland

On Wed, Apr 23, 2014 at 8:11 AM, Sonya Mladenova
sonya.mladen...@gmail.com wrote:
 Hey Sarah,

 Quick thoughts:

 Grizzly man!
 Turin horse...
 Cave of Forgotten Dreams - scene at the very end with albino reptilians.
 Gates of Heaven (on a pet cemetery)


 Looking forward to that list myself,

 Sonya


 On Wed, Apr 23, 2014 at 11:05 AM, 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

 www.sarahbrowne.info
 www.kennedybrowne.com

 Hand to Mouth
 CCA Derry-Londonderry
 until 24 May 2014



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Re: [Frameworks] frameworks confirmation message?

[Eric Theise]

bounced means that the frameworks mail server couldn't deliver list
messages to you.

Both of you are using older Microsoft domain names, are they
force-migrating you to something newer?

On Wed, Apr 23, 2014 at 12:08 PM, Jon Behrens bolex...@msn.com wrote:
 I got one too

 Sent from my iPhone

 On Apr 23, 2014, at 12:05 PM, k. a.r. a_r...@hotmail.com wrote:

 anybody else get this?
 it says I bounced too many times and have to reconfirm my membership on
 the list?
 What does 'bounced' mean?



 Kristie Reinders, B.F.A.
 Director of Cinematography, Electric Visions
 Curator and Head Projectionist, Electric Mural Project
 The Mission, San Francisco, CA

 'A first class technician should work best under pressure.'
 - - - Issac Asimov

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Re: [Frameworks] banned films?

[Eric Theise]

Did anyone on this list attend Anthology's recent (Mar 9) screening of
Otto Muehl's Materialaktionsfilme (1970)?

   
http://anthologyfilmarchives.org/film_screenings/calendar?view=listmonth=03year=2013#showing-40493

I'm curious about the contemporary reaction to that film.

I don't know if it was ever officially banned, but we screened it at
the EFC in Chicago in the late 80s, and I remember that night as being
as close to a riot-at-a-film-screening as I'm likely to experience.
The few remaining in the gallery after the mass exodus, triggered
especially by the section involving the swan, were unlikely to be
offended by anything that came later, e.g., pastries  enemas.

Scott, I'm not sure what you're aiming for with your screening,
especially because eroticism is wholly dependent on the viewer's
culture and personal tastes pertaining to what, exactly, defines the
erotic[1].

Warhol's Blue Movie[2] (RIP Louis Waldron)? Or Couch?

Eric

1. http://en.wikipedia.org/wiki/Erotic
2. http://en.wikipedia.org/wiki/Blue_Movie


On Fri, Mar 28, 2014 at 4:15 PM, Peter Mudie peter.mu...@uwa.edu.au wrote:
 Aggy Read's BOOBS A LOT was banned in the '60s - Canyon should still have a
 print.
 Peter
 (hoping not to bump into some airplane pieces when I go for a surf, Perth)

 From: Abigail Severance bellec...@mac.com
 Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com

 Subject: Re: [Frameworks] banned films?

 A few years back the state of Michigan cut funds to the Ann Arbor FF, citing
 a list of 'pornographic' films the festival had programmed. (Some of the
 films had sex and some didn't.) AAFF fought it in court and won. I'm sure
 there's a list of the films somewhere...

 More here:
 http://www.npr.org/templates/story/story.php?storyId=9015524
 http://www.indiewire.com/festival/ann_arbor_film_festival

 On Mar 28, 2014, at 6:43 AM, Scott Stark wrote:

 Hi friends, I'm looking for ideas for a banned films program for a local
 (Austin) erotica-based film festival. Flaming Creatures is definitely top of
 the list. Any ideas for other films that have been banned, censored or
 otherwise disparaged for risque content? (experimental preferred)

 thanks,
 Scott


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[Frameworks] serene velocity

[Eric Theise]

Hello frameworkers,

Two questions re: Ernie Gehr's Serene Velocity.

  anyone out there--researchers/preservationists--undertaken the
mundane task of doing frame counts?
  are there any titles or credits on the film?

Thanks in advance. I haven't had the pleasure of seeing the film in
the past decade.

Eric
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Re: [Frameworks] sound track collaboration

[Eric Theise]

Michael, oops, it's public now.


On Tue, Feb 18, 2014 at 7:22 AM, Michael Betancourt 
hinterland.mov...@gmail.com wrote:

 I saw you email to Frameworks; perhaps you can help me with something. I
 have a movie that is currently in need of a soundtrack. Do you have
 something already done that you think might work? As this is still in
 progress, its not yet public. Here's a link to it
 https://vimeo.com/86503040
 the password is moon
 There's no way I can finish this without a soundtrack

 Michael Betancourt
 Savannah, GA USA


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


 On Mon, Dec 2, 2013 at 1:37 AM, Peter Hofstad ififif...@gmail.com wrote:

 Any filmmakers in need of music for their current projects? I record
 mostly hypnagogic, loop-based music that (in my opinion) fits non-narrative
 film particularly well.

 Check out my bandcamp here for examples:
 http://eerieapartment.bandcamp.com/

 I'd love to provide a track for your film or collaborate on something.

 Thanks,
 PW Hofstad


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Re: [Frameworks] films/videos using/made up of text

[Eric Theise]

Peter Rose's Secondary Currents.

On Thu, Nov 14, 2013 at 10:09 AM, mike rice bacnhe...@gmail.com wrote:
 Hollis Frampton has some great works revolving around the use of text. Some
 that come immediately to mind: Gloria, Zorns Lemma, and Poetic Justice. As
 far as works made by women, the first filmmaker I can think of is Su
 Friedrich and her work film Gently Down the Stream, is a film which involves
 a lot of text.

 Hope this helps, Mike Rice

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[Frameworks] james broughton exhibit @ san francisco public library

[Eric Theise]

I was just checking the hours of my local branch when I noticed this
exhibit at the San Francisco Main Public Library, Hymns To Hermes:
The Poetics of James Broughton:

http://sfpl.org/index.php?pg=1014710001

I see there was an event last night celebrating the centenary of his
birth (reminiscences and readings), but the exhibit continues through
16 Jan 2014 and might be worth a visit for anyone interested and in
town.
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Re: [Frameworks] Ronald Nameth's Exploding Plastic Inevitable

[Eric Theise]

Hi Stefan,

I spent a few days at the Warhol Museum in Pittsburgh about a year ago. My
recollection is of Greg Pierce telling me that Nameth had pulled all
exhibition prints of EPI, and that he was planning a fundamentally new,
drastically recut project. This was in the context of offering to show me
peripheral works (on VHS) that would be difficult to see outside of a media
collection.

We showed the film several times in the Experimental Film Coalition
screening series at Randolph St Gallery in Chicago back in the mid-to-late
1980s, and I have my own VHS copy of it, so I didn't take him up on his
offer, but if you're not finding prints in expected places, that may be why.

I hope you'll post back with what you eventually find.

--Eric

P.S. Always amused that the closing titles credited John Cahill, if
memory serves.



On Sat, Sep 7, 2013 at 12:32 PM, Michelle Menzies
michelle.menz...@me.comwrote:

 Hi Stephen,

 You can source an exhibition print from an outfit called ArtSite*In, based
 in Stockholm.
 Linda Gustavson is the contact: info.artsit...@gmail.com

 Best,
 Michelle

 Sent from my iPhone

 On 8/09/2013, at 4:32 AM, Stephen Broomer stephen_broo...@hotmail.com
 wrote:

 Hi Stefan,

 When my restoration of John Hofsess's Palace of Pleasure was screened at
 Cinematheque Ontario in 2009, it was presented alongside a 16mm print of
 Nameth's EPI that was in (I thought) excellent shape. You may wish to
 contact Andréa Picard, James Quandt, or Steve Gravestock (all at the
 Toronto Film Festival), as one of them would know where they sourced the
 print from.

 Best,
 Stephen Broomer

 --
 From: ste...@radonlake.com
 To: frameworks@jonasmekasfilms.com
 Date: Sat, 7 Sep 2013 12:09:10 -0400
 Subject: [Frameworks] Ronald Nameth's Exploding Plastic Inevitable

 Dear Frameworkers,

 Does anyone know  of any prints of Ronald Nameth's film Andy Warhol's
 Exploding Plastic Inevitable that are still available for exhibition?

 Best,

 Stefan Grabowski
 co-curator, Balagan Film Series
 http://balaganfilms.com

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Re: [Frameworks] Oxberry Master Series Animation Stand 16/35mm

[Eric Theise]

Jeff's mention of the animation stand coming available in San Diego
made me go looking for this thread from back in February. Did this
stand get saved, did it actually make the trip from Halifax to the SF
Bay Area?

--Eric

On Fri, Feb 1, 2013 at 8:26 PM, sibling projects r...@siblingprojects.com 
wrote:
 Hi Alex,

 I'm a filmmaker and have done animation and would like to incorporate
 more animation into my work so I'm very interested in the Oxberry
 Animation Stand. I live in San Francisco and teach at UC Santa Cruz. I
 have friends who are often in Halifax and who perhaps could arrange to
 have it picked up, or yes, would like to discuss shipping options.

 Thanks very much!
 Rini Y Keagy


 From: Alex Balkam blueswingingd...@gmail.com
 To: frameworks@jonasmekasfilms.com
 Cc:
 Date: Thu, 31 Jan 2013 15:34:49 -0400
 Subject: [Frameworks] Oxberry Master Series Animation Stand 16/35mm
  Hello, I am Technical Coordinator for the Atlantic Filmmakers
 Cooperative in Halifax, N.S. Canada. We are looking into perhaps
 unloading our excellent condition Oxberry Master Series Animation
 Stand.

  View here for details on the model type:
 http://www.evergreen.edu/electronicmedia/docs/oxberry_manual.pdf

  Are there any filmmakers/animators on Frameworks who might be
 interested in this item. Care to discuss price terms, shipping
 strategies, etc.

  Thanks!

  Alex Balkam
  Technical Coordinator for Atlantic Filmmakers Cooperative
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Re: [Frameworks] Oxberry Master Series Animation Stand 16/35mm

[Eric Theise]

Sorry if my email wasn't clear. I never thought this was the same
stand. I just remembered the earlier thread and was wondering what
became of the Atlantic Filmmakers Coop's Oxberry,

--Eric

On Thu, Jun 13, 2013 at 3:03 PM, George, Sherman sgeo...@ucsd.edu wrote:
 Eric,
 Different stand. This one has been at UCSD since 1971.
 Sherman
 On Jun 13, 2013, at 1:04 PM, Eric Theise wrote:

 Jeff's mention of the animation stand coming available in San Diego
 made me go looking for this thread from back in February. Did this
 stand get saved, did it actually make the trip from Halifax to the SF
 Bay Area?

 --Eric

 On Fri, Feb 1, 2013 at 8:26 PM, sibling projects r...@siblingprojects.com 
 wrote:
 Hi Alex,

 I'm a filmmaker and have done animation and would like to incorporate
 more animation into my work so I'm very interested in the Oxberry
 Animation Stand. I live in San Francisco and teach at UC Santa Cruz. I
 have friends who are often in Halifax and who perhaps could arrange to
 have it picked up, or yes, would like to discuss shipping options.

 Thanks very much!
 Rini Y Keagy


 From: Alex Balkam blueswingingd...@gmail.com
 To: frameworks@jonasmekasfilms.com
 Cc:
 Date: Thu, 31 Jan 2013 15:34:49 -0400
 Subject: [Frameworks] Oxberry Master Series Animation Stand 16/35mm
 Hello, I am Technical Coordinator for the Atlantic Filmmakers
 Cooperative in Halifax, N.S. Canada. We are looking into perhaps
 unloading our excellent condition Oxberry Master Series Animation
 Stand.

 View here for details on the model type:
 http://www.evergreen.edu/electronicmedia/docs/oxberry_manual.pdf

 Are there any filmmakers/animators on Frameworks who might be
 interested in this item. Care to discuss price terms, shipping
 strategies, etc.

 Thanks!

 Alex Balkam
 Technical Coordinator for Atlantic Filmmakers Cooperative
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 Sherman George
 sgeo...@ucsd.edu
 858-229-4368



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[Frameworks] fwd: Longtime LES Resident And Warhol Star, Taylor Mead, Dies At 88

[Eric Theise]

Sad news. Still, 88 is a ripe old age, especially for a Superstar.

http://gothamist.com/2013/05/09/taylor_mead.php#photo-6
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Re: [Frameworks] Red fleeting strokes on celluloid

[Eric Theise]

On Tue, May 8, 2012 at 4:18 AM, Esperanza Collado
esperanzacolla...@gmail.com wrote:
 I wonder if you could help me find the best material to create red undefined
 and sharp (angular) stains on celluloid, like fleeting strokes (hope that
 makes some sense to you). Have you tried with red ink? I tested nail polish
 but it becomes pink when projected, and if I apply a dense layer it just
 blocks the light completely. I guess I should use a little brush to apply
 it... Any suggestions would be much appreciated.

Hi Esperanza,

Painting-on-film enthusiasts sometimes use Dr. Ph. Martin's
watercolors. I've liked the Synchromatic Transparents and the Radiant
Concentrateds, the former being dyes formulated especially for film
and photo paper.

http://www.docmartins.com/collections/synchromatic-transparent
http://www.docmartins.com/collections/radiant-concentrated
http://www.docmartins.com/pages/color-charts

These are available in larger art supply stores in the US, and online,
and they're fairly inexpensive (~7$US per bottle).  I don't quite
understand the effect you're trying to get, but you may want to try
blotting the color on as an alternative to using a brush.

--Eric
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Re: [Frameworks] Andy Warhol's SLEEP / Providence, RI / Feb 18 / Magic Lantern + RK Projects

[Eric Theise]

On Mon, Feb 13, 2012 at 10:21 AM, Myron Ort z...@sonic.net wrote:
 How and why do stories like that get started anyway?

That particular story got started because Jonas Mekas told it.  It
continues to be told because it's a good story, and it's lodged in the
collective memory due to the problematic but always cited early
literature on Warhol's filmmaking.

--Eric
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Re: [Frameworks] {Disarmed} Re: Andy Warhol's SLEEP / Providence, RI / Feb 18 / Magic Lantern + RK Projects

[Eric Theise]

Hi Fred,

In Edie (Stein w/Plimpton, pp 234-235), George Plimpton recounts
riding in a freight elevator with Warhol and mentioning the Carnegie
Hall concert organized by Cage.

I mentioned it to Andy only because I thought he might be vaguely
interested--he was doing these eight-hour films of people sleeping.
It never occurred to me that he knew of this concert, or of Satie,
since it wouldn't have surprised me a bit if he'd never heard of
Satie.  His reaction startled me.  He said, Ohhh, ohhh, ohhh!  I'd
never seen his face so animated.  It made a distinct impression.
Between ohhh's he told me that he'd actually gone to the concert and
sat through the whole thing.  He couldn't have been more delighted to
be telling me about it.

My reading of the announcement is that the Vexations concert in
Providence is 45 minutes long, and that it precedes the screening.

--Eric

On Sun, Feb 12, 2012 at 2:52 PM, Fred Camper f...@fredcamper.com wrote:
 Quoting Damon damonc...@gmail.com:

 While this presentation of Sleep certainly differs from the original
  screenings of the film, it is also far from a Youtube hommage.
 Vexations played an important role in Warhol's conception of the
 film, and he took from Satie a working method making possible the
 editing of his short reels into a lengthy film.

 Sorry I don't have time at the moment to unpack this point as I'm
 running out the door, but here is a link to some supporting
 literature to this position:
 http://www.warholstars.org/news/johncage.html

 Is there some aspect of the text on this link that actually supports
 your claim that Vexations specifically influenced Sleep? It's not
 even clear that Warhol ever heard Vexations.

 But even if the answer is yes, that doesn't support playing one
 during a sceening of the other. Would you have Pound's Cantos
 recited during a screening of Dog Star Man? Excerpts from the
 Tibetan Book of the Dead read during George Landow's Bardo Follies?

 Fred Camper
 Chicago

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