Re: [Frameworks] American Indian and Indigenous experimental filmmakers
Navajo Film Themselves http://www.penn.museum/sites/navajofilmthemselves/ https://www.youtube.com/watch?v=FWMO2UGfaBI Rob From: Nate Cummings ncummingslamb...@gmail.commailto:ncummingslamb...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Date: Thursday, 5 March 2015 03:02 To: Experimental Film Discussion List frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Subject: [Frameworks] American Indian and Indigenous experimental filmmakers Dear Frameworkers, A small group of students and alumni are programing an American Indian and Indigenous film screening series at CalArts for the end of the month. This will be a week long event from March 30th to April 3rd. I'm reaching out to all of you for suggestions as we finalize our programming in the next coming weeks. The program covers a range of forms and techniques and any suggestions will be appreciated and looked at. We are specifically looking for work made by American Indian and Indigenous peoples, not simply about. Programs will be arranged around such topics as: The Construction of Knowledge in Ethnographic Film Practices The Preservation and Conservation of Indigenous Land and Rights Contemporary Indigenous Art and Crafts Personal Narratives and Histories on the Reservation. As the event draws closer I'll send out the program details for those interested in the Southern California and Los Angeles area. Thank you for any help and suggestions. Best, Nate Cummings-Lambert (Eastern Band of Cherokee Indians) [Falmouth University] http://www.falmouth.ac.uk/ [Follow us] [Facebook] https://www.facebook.com/falmouthuni [Twitter] http://twitter.com/falmouthuni [Youtube] http://www.youtube.com/falmouthuniversity [Pintrest] http://pinterest.com/falmouthuni [cid:image9cfdda.GIF@913adb8c.41af24c8] http://www.falmouth.ac.uk/content/falmouth-leaps-26-places-sunday-times-league-table This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Books on the History of Avant-Garde film in US
Film Is - Steve Dwoskin From: Michael Betancourt hinterland.mov...@gmail.commailto:hinterland.mov...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Date: Thursday, 29 January 2015 18:16 To: Experimental Film Discussion List frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Subject: [Frameworks] Books on the History of Avant-Garde film in US I'm sure I'm forgetting something, so please help! Histories of avant-garde film in the United States: Lewis Jacobs, “Experimental Cinema in America 1921-1947” in The Rise of the American Film (1948) Roger Manvell, Experiment in the Film (1949) Gregory Battcock, The New American Cinema (1967) Sheldan Renan, An Introduction to the American Underground Film (1967) Parker Tyler, The Underground Film: A Critical History (1698) Gene Youngblood, Expanded Cinema (1970) David Curtis, Experimental Cinema (1971) Amos Vogel, Film as a Subversive Art (1976) P. Adams Sitney, Visionary Film (1974) Maureen Turin, Abstraction in Avant-Garde Films (1978/85) William Wees, Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film (1992) Scott MacDonald, Avant-Garde Film Motion Studies (1993) James Peterson, Dreams of Chaos, Visions of Order (1994) Jan-Christopher Horak, Lovers of Cinema: The First American Film Avant-garde, 1919-1945 (1998) Joan Hawkins, Cutting Edge: Art-Horror and the Horrific Avant-Garde (2000) Bruce Posner, Unseen Cinema: Early American Avant-Garde Film 1893-1941 (2001) Lauren Rabinovitz,Points of Resistance: Women, Power, and Politics in the New York Avant-garde Cinema, 1943-71 (2003) David E. James, The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles (2005) Paul Arthur, Line of Sight: American Avant-Garde Film Since 1965 (2005) Alexander Graf, ed., Avant-Garde Film (Avant-Garde Critical Studies 23) (2007) A. L. Rees, A History of Experimental Film and Video (2011) Michael Betancourt Savannah, GA USA michaelbetancourt.comhttp://michaelbetancourt.com twitter.com/cinegraphichttp://twitter.com/cinegraphic | vimeo.com/cinegraphichttp://vimeo.com/cinegraphic www.cinegraphic.nethttp://www.cinegraphic.net | the avant-garde film video blog [Falmouth University] http://www.falmouth.ac.uk/ [Follow us] [Facebook] https://www.facebook.com/falmouthuni [Twitter] http://twitter.com/falmouthuni [Youtube] http://www.youtube.com/falmouthuniversity [Pintrest] http://pinterest.com/falmouthuni [cid:imagedab620.GIF@89d418b3.49a3d03f] http://www.falmouth.ac.uk/content/falmouth-leaps-26-places-sunday-times-league-table This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Process Advice
Thanks for sharing this. Everything you need to know! Rob On 10/11/2014 23:46, JANA DEBUS i...@janadebus.com wrote: Hi Vail, check out Esther Urlus great website, with extensive information, including DIY booklets for download. http://estherurlus.hotglue.me/d-i-y Best, Jana On 06.11.2014, at 20:16, Alvalia Pemberton 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 Falmouth University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Constructing A Foley / Sound Studio
Hi Matt While what Dave says is true, it is still possible to do something workable with little money. By not having parallel walls you can eliminate standing waves. The space between the walls and the 'false' non-parellel walls (and ceiling if possible) can be filled with insulating material of some sort or other. Thick curtains on runners and portable screens ( suspended from the ceiling) can give flexibility. The choice and use of mics is also crucial. The floor is your main problem if you can't afford to build, you're then restricted to boards and carpeting. This may not be a 'professional' set-up but it can work. Rob On 08/11/2014 04:34, Dave Tetzlaff djte...@gmail.com wrote: Matt: I doubt you'll find good models at other schools. In my travels, college sound facilities have either been created from the ground up as part of an expensive building project, or jury rigged into some existing space so cheaply and poorly they're barely worth having. If you can find any schools that have gone a DIY route, they'll probably be useful mostly in telling you what NOT to do. I've have experience with some small pre-fab booths, and they all stunk. Also, they are designed as essentially the opposite of what you want: the idea being the talent goes into the booth to do a VO. To get anything functional, you're going to need a custom constructed studio booth designed to fit the room. The materials with need to be custom cut, and the booth will likely need to be constructed mostly in the room, rather than making larger sections in another location and assembling them in the space. I would guess you could hire a contractor who specializes in sound booth construction to create something for you, but i'd also guess the cost would be prohibitive. There are any number of books that lay out principles and methods for DIY booth construction. Perhaps you could work with the college's physical plant to design and build something 'yourself' (that is, within the college). I would guess what you can accomplish will depend on how much time you (Matt) can put into it. That would be an advantage your program has over most small college film programs: your labor, knowledge and commitment to getting it right.. Since it's an educational facility it doesn't have to look nice to impress clients, it just has to be functional. Whatever you save on aesthetics, do not scrimp on basic functionality. You'll need a serious double pane glass sound isolating window, serious sound seals on the door(s). The trick is the sound isolation of the booth. It's ideally a six-sided double-walled room within the classroom, with the bottom decoupled from the classroom floor, and the inner and outer wall of the booth decoupled... There are a number of books, and maybe even some plans on the web. I have no familiarity with any of them. This one was recommended: http://www.barnesandnoble.com/w/home-recording-studio-rod-gervais/11003551 28?ean=9781435457171 I'd probably do plenty of research, check several books, before making any plans. Other things that are not going to be cheap: A classroom probably has old-school tube fluorescent overhead lighting which will have to be replaced. LED lamps probably, but I don't know if they have counter-EMF issues. You'll probably have to isolate the stage part of the room from the buildings ventilation and heating system, as that's likely to go on and off at will and generate too much noise. Then you'll need a way to ventilate the booth, as it will be a sealed space and the equipment in it will generate heat. Finally, classrooms have a shit-ton of echo and you'll need serious sound deadening treatments for the walls and ceiling. In short, it's a major project, and if you can't do it right, it's probably not worth doing at all. Falmouth University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films on film-making/unfinished films
Shirley Clarke's The Connection Rob From: Suyash Barve suyashba...@gmail.commailto:suyashba...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Date: Thu, 9 Oct 2014 12:11:53 +0530 To: frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Subject: [Frameworks] films on film-making/unfinished films hello all, i am looking for reference titles that fall within the genre of films made on unfinished films/films coming apart/film that is being shot or in prodcution. the film we are watching is actually about the makers who are playing themselves but are also characters in the film. the film that they are putting together could be just fragments of a scene being shot or a location recce being planned and need not be a conclusive/meaningful film in itself. the film that is being made acts as the bridge to enter the world of the criss-crossing destinies, interesting back-stories and character detail of the film-makers who are playing themselves on and off camera and who have been brought together because of the film. the lines between docu and fiction are blurred so to speak and the director is exploring the on and off camera dynamics between characters and situations. some of the titles we have in mind are : through the olive trees - abbas kiarostami salaam cinema - mohsen makhmalbaf contempt - j-l godard (although this one has a very different outcome, the film within a film and the characters are consistent with the reference titles we are trying to source) mary - abel ferrera a cock and bull story - michael winterbottom thank you for your time and effort to read through this notice. looking forward to getting some responses! S [Falmouth University] http://www.falmouth.ac.uk/ [Follow us] [Facebook] https://www.facebook.com/falmouthuni [Twitter] http://twitter.com/falmouthuni [Youtube] http://www.youtube.com/falmouthuniversity [Pintrest] http://pinterest.com/falmouthuni This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.commailto:FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films using the optical printer
Monkey's Birthday, David Larcher; - colour separation, superimposition, bi-packing etc. Slides, Annabel Nicholson; pulling film through the gate etc Film Sound, Andy Moss; short edits/loops (sound and picture), superimpositions (all at LUX, London.) Rob From: Caryn Cline carynycl...@gmail.commailto:carynycl...@gmail.com Reply-To: Experimental Film Discussion List frameworks@jonasmekasfilms.commailto:frameworks@jonasmekasfilms.com Date: Wed, 6 Aug 2014 09:06:12 -0700 To: Experimental Film Discussion List FrameWorks@jonasmekasfilms.commailto:FrameWorks@jonasmekasfilms.com Subject: [Frameworks] films using the optical printer Dear Frameworkers, If I were going to undertake a series of screenings showcasing optical printer techniques, what work would you recommend? What is the best work for understanding the cinematic potential in optical printing? Are there any texts that could be included? I'm asking for my own enlightenment and to take my own OP work to another level, but I might also try to put together a public screening at some point. Many thanks, as always, for your thoughts and advice. CC -- Caryn Cline Experimental Filmmaker Teacher vimeo.com/carynychttp://vimeo.com/carynyc Co-producer cinematographer, Acts of Witness www.actsofwitness.comhttp://www.actsofwitness.com/ [Falmouth University] http://www.falmouth.ac.uk/ [Follow us] [Facebook] https://www.facebook.com/falmouthuni [Twitter] http://twitter.com/falmouthuni [Youtube] http://www.youtube.com/falmouthuniversity [Pintrest] http://pinterest.com/falmouthuni This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.commailto:FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Films about labor and leisure
The Free Cinema movement in the UK is important here. See http://www.screenonline.org.uk/film/id/444789/ and Humphrey Jennings' Spare Time Rob On 11/05/2014 16:43, Chris G spy...@gmail.com wrote: Hi all, I'm looking for films that portray situations of labor and leisure together. It would be great if there were texts specific to those films, but I'm also seeking out writings on/that reference this dynamic within the context of films, cinemas or public spaces. I'm trying to find modernist essays on cinema as spaces of leisure as well. Obviously Sharon Lockhart's Lunch Break comes to mind. I feel like there was a thread similar to this a while back, so I apologize if this is redundant, but I wasn't able to find anything through a search of the archive. Thanks! Christopher Falmouth University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Turner and Film
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 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Disney Paris imposter
And there was Francis Alys' re-enactments twin screen video where he bought a gun and bullets and paraded down the street with it until arrested. He then re-enacted it with police collaboration. http://www.youtube.com/watch?v=B4Ty4TTAX48 Rob On 07/03/2014 15:26, Francisco Torres fjtorre...@gmail.com wrote: This is the quote I thought it was a wonderfully conceptual act actually, to fire a replica pistol at a figurehead -- the guy could have been working for Andy Warhol! http://www.quoteland.com/quote/J-G-Ballard-Quotes/26948/ -*J. G. Ballard http://www.quoteland.com/author/J-G-Ballard-Quotes/1637/* On Fri, Mar 7, 2014 at 11:22 AM, Francisco Torres fjtorre...@gmail.comwrote: It reminds me of JG Ballard commenting on the guy who was sent to jail for pointing a toy gun at the Queen. Ballard said it was the ultimate simulacrum, a make believe attempt on a make believe monarch... On Fri, Mar 7, 2014 at 1:09 AM, Mariya Nikiforova mar...@radonlake.comwrote: Real Snow White by Pilvi Takala! On Thu, Mar 6, 2014 at 10:58 PM, Mark Street mstreet...@gmail.comwrote: Does anyone know the name of a film (Dutch?) in which a woman impersonated a Disney character in the parking lot of Paris Disneyland, I think it was Snow White. She greeted children, posed for pictures and the like until security guards approached and said she wasn't the 'real' Snow White. She argued: How can someone be a 'real' fantasy character, and she was escorted off the grounds. I saw it at EMAF about 5 years ago. all best, Mark Street www.markstreetfilms.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Disney Paris imposter
It was Mexico City On 07/03/2014 20:11, Francisco Torres fjtorre...@gmail.com wrote: I live in Puerto Rico, according to the US DOJ PR is the US jurisdiction with the most violent and corrupt police force. Worse than LA or Las Vegas. The police kills people for jaywalking. Red Pill -God Hollywood wants us to believe in God, the free market, the sanctity of mother hood, patriotism, the purity of childhood, sacred fatherhood, the virtues of family, the nobility of rebels, etc,etc,etc... ANYTHING as long as we believe in something. The moment we stop believing any and all predigested ''ideas'' they will be history. Here is a course of action: harden, worsen, accelerate decadence. Adopt the perspective of active nihilism, exceed the mere recognition-be it depressive or admiring-of the destruction of all values. Become more and more incredulous. Push decadence further still and accept, for instance, to destroy the belief in truth under all its forms. Lyotard On Fri, Mar 7, 2014 at 3:48 PM, john tuzcu jtu...@gmail.com wrote: yes francisco! don't know what country you were referring to, but in amerika if you're black or brown and doing this kind of thing you would be gunned down immediately by the cops if racist vigilantes didn't kill you first... On Fri, Mar 7, 2014 at 2:35 PM, Francisco Torres fjtorre...@gmail.comwrote: And there was Francis Alys' re-enactments twin screen video where he bought a gun and bullets and paraded down the street with it until arrested. He then re-enacted it with police collaboration. In some places (like in my country) you could be killed by the po-lice for less On Fri, Mar 7, 2014 at 2:51 PM, Gawthrop, Rob rob.gawth...@falmouth.ac.uk wrote: And there was Francis Alys' re-enactments twin screen video where he bought a gun and bullets and paraded down the street with it until arrested. He then re-enacted it with police collaboration. http://www.youtube.com/watch?v=B4Ty4TTAX48 Rob On 07/03/2014 15:26, Francisco Torres fjtorre...@gmail.com wrote: This is the quote I thought it was a wonderfully conceptual act actually, to fire a replica pistol at a figurehead -- the guy could have been working for Andy Warhol! http://www.quoteland.com/quote/J-G-Ballard-Quotes/26948/ -*J. G. Ballard http://www.quoteland.com/author/J-G-Ballard-Quotes/1637/* On Fri, Mar 7, 2014 at 11:22 AM, Francisco Torres fjtorre...@gmail.comwrote: It reminds me of JG Ballard commenting on the guy who was sent to jail for pointing a toy gun at the Queen. Ballard said it was the ultimate simulacrum, a make believe attempt on a make believe monarch... On Fri, Mar 7, 2014 at 1:09 AM, Mariya Nikiforova mar...@radonlake.comwrote: Real Snow White by Pilvi Takala! On Thu, Mar 6, 2014 at 10:58 PM, Mark Street mstreet...@gmail.com wrote: Does anyone know the name of a film (Dutch?) in which a woman impersonated a Disney character in the parking lot of Paris Disneyland, I think it was Snow White. She greeted children, posed for pictures and the like until security guards approached and said she wasn't the 'real' Snow White. She argued: How can someone be a 'real' fantasy character, and she was escorted off the grounds. I saw it at EMAF about 5 years ago. all best, Mark Street www.markstreetfilms.com Falmouth University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] artist portraits
Arnulf Rainer by Peter Kubelka (Nostalgia) by Hollis Frampton includes: James Rosenquist, Carl Andre, Frank Stella, Larry Poons, Michael Snow etc. Rob On 05/02/2014 01:16, kate lain k...@katemakesfilms.com wrote: Hi, frameworkers. I'm looking for examples of portraits of artists and/or their processes or their works -- sculptors, musicians, poets, other filmmakers, etc. Really interested in hearing about non-standard, non-straight-doc, artistic/artist-made films and videos about other artists. Particularly keen on short works. Bonus points for ones available in some form online. Thanks in advance for any suggestions you might have! All the best, Kate Falmouth University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Weapons and the military in avant-garde cinema?
Peace Plenty: Ivor Montague Hell Unlimited: Norman Mclaren Helen Biggar Rob On 28/01/2014 20:49, John McAndrew jj.mcand...@gmail.com wrote: Hello all, For a little under a year my main source of income has come through working as a gallery warden in a historical museum specializing in arms and armour (it's a questionable place to work in admittedly, but anyway...). Recently the museum's cinema space has become freely available to staff members to use on evenings whenever it's available and given both the digital and potential film projection facilities available, and the cinema itself being housed in quite a unique location, I've been pondering over the idea of independently programming a selection of experimental/underground/artists' films and videos that ties together the avant-garde as we commonly know it with its original military terminology. Either way, it would make a refreshing change to the current programming decisions of showing Hollywood war and action films that everyone has seen a hundred times over... Can anyone on FrameWorks offer any suggestions for moving image works - both new or old, landmark or obscure, abstract or representative - that may explore such vanguard themes? Or know of any existing curated screenings or written texts that have also explored this connection? I'm open to hearing any and all suggestions for works involving the military and armed forces, weapon technology (firearms, explosives, swords etc), armour, combat and self-defence, historical battles or wars (maybe even fictional ones too), appropriated war/training films, critiques of the armed forces, militias, laws involving the right to keep and bear arms, etc etc etc... Many thanks for reading! Best, John Falmouth University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] exposed but not fully
Jeff Keen used to leave film shot but unprocessed for years and then shoot a few more layers on top. On some of his diary films you can see his daughter Stella at various ages in the same sequence. Rob On 04/01/2014 08:37, nicky.ham...@talktalk.net nicky.ham...@talktalk.net wrote: I have often left exposed film undeveloped for several weeks without any problems that I can see, Nicky. Falmouth University -Original Message- From: Katherine Bauer kittylitter...@gmail.com To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com Sent: Sat, 4 Jan 2014 7:28 Subject: [Frameworks] exposed but not fully HI Frameworkers. I have a bit of a manic question. I have some rolls of color neg, fuji 400T mostly. That I shot 1 as I like to say, layer, of images onto already, but they were shot 2 stops under because I was going to add other layers onto them. Well things have gotten rather crazy with other projects and stuff so even though it has already been several months, I wont be able to add the other layers of images for another month! I have been keeping them so far in a cold room. Just for my nerves I want to know if this footage is going to be totally fu#ked because it is taking me so long to get to finishing the rolls. Or will it just be a slight difference in contrast or something like that? Has anyone had experience where they have waited 6 months to finish a roll? I think I must have in the past but I can not really recall. So I pose the question to you all. Thanks! K ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Films/Videos looking at concepts of work
Tony Sinden: Time Motion Ken Jacobs: Capitalism: Slavery Rob On 07/01/2014 10:33, Insa Langhorst insa.langho...@gmail.com wrote: Dear Frameworkers, I would like to build a list of video art and films which look at aspects, concepts and realities of work. One piece I came across recently is Johan van der Keuken's /Temps/Travail /(1999). Does anyone have any other suggestions? Thanks, Insa www.insalanghorst.com +44 778 93 8 22 84 (UK) +49 176 86 74 83 45 (D) insa.langho...@gmail.com Falmouth University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] seminal writing on American a/g film after 76
If Avant-garde is considered as any politically advanced or progressive cultural practice then there is still a desperate need for it (though the concept of 'progressive' may have ceased). The contexts of globalisation, reification and commodification need resisting and not conforming to. Post-modernity isas Lyotard put it, a condition and as a condition (and not a successor, 'replacement or 'style') and encompasses both the traditional and the modern. Rob On 07/11/2013 20:59, Myron Ort z...@sonic.net wrote: a·vant-garde noun 1. new and unusual or experimental ideas, esp. in the arts, or the people introducing them. adjective 1.favoring or introducing experimental or unusual ideas. So avant garde science would include all the unsuccessful experiments regardless of significance, validity, or connection to any historical development. Fortunately science never succumbed to the tradition of the new which undermined sanity in the arts. Insanity seems to rule and reference to or use of tradition is branded as (been there done that - anti avant garde) plagiarism. I prefer the idea of art, like science, being built on a history of useful discoveries for expression, not expression for its own sake at the expense of insightful universality, technique, and craft. -not making any friends, Myron Ort On Nov 7, 2013, at 11:25 AM, Stashu Kybartas wrote: Perhaps we should just admit that the Avant-Garde ended where Post-Modernism and identity politics picked up. (the Post 70s chapters in Sitney notwithstanding). The take was driven into the heart of the Avant-Garde at the turn of this century with the web. There is no avant-garde now. The internet insures that NOTHING will stay avant - EVER. This is not nescessarily a bad thing. Time to move on to the great future where everything is available to everyone all the time - no exclusive clubs anymore. Keep the faith... Stashu Kybartas Lecturer IV University of Michigan Department of Screen Arts and Cultures 6330 North Quad 105 South State Street Ann Arbor, MI 48109-1285 (734) 546-9966 (773) 348-4292 On Nov 7, 2013, at 11:59 AM, Albert Alcoz albertalc...@yahoo.es wrote: Here's another one: Indiscretions: Avant-Garde Film, Video, and Feminism by Patricia Melllencap (Indiana University Press) De: William Wees, Dr. william.w...@mcgill.ca Para: Experimental Film Discussion List frameworks@jonasmekasfilms.com Enviado: Jueves 7 de noviembre de 2013 2:26 Asunto: Re: [Frameworks] seminal writing on American a/g film after 76 I would suggest chapters 13 and 14 of Visionary Film: The American Avant-Garde, 3rd edition, by P. Adams Sitney, Oxford University Press, 2002; A Line of Sight: American Avant-Garde Film Since 1965, by Paul Arthur, University of Minnesota Press, 2005; and in all humility, a couple of essays by myself: ²The Changing of the Garde(s)² in Public, No. 25, 2002, and ³No More Giants² in Women and Experimental Filmmaking, eds. Jean Petrolle and Virginia Wright Wexman, University of Illinois Press, 2005. --Bill Wees From: FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] On Behalf Of Ara Osterweil Sent: November 5, 2013 10:19 AM To: frameworks Subject: [Frameworks] seminal writing on American a/g film after 76 Hello all, A friend is compiling a bibliography and needs to know the 4-5 most important scholarly books or articles on American a/g film made after 1976. My scholarship on the a/g is mostly in the 60s and 70s and while I know much of the work that comes after, I wanted to confirm my suspicions. Suggestions welcome and appreciated. Thanks, Ara Falmouth University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] films of Ian Hugo
Hi Michael The BFI has Ai-Ye (1950, 22 min) Bells of Atlantis (1952, 9 min) Jazz of Lights (1954, 16 min) Best Wishes Rob On 10/10/2013 14:00, Michael Kemp michaelkemp...@yahoo.co.uk wrote: Dear FrameWorkers, does anybody know who owns/distributes the films of Ian Hugo, in the UK, and whether there are any plans for future screenings? Ai-Ye (1950, 22 min) Bells of Atlantis (1952, 9 min) Jazz of Lights (1954, 16 min) Melodic Inversion (1958, 8 min) The Gondola Eye (1961-71, 16 min) Through the Magiscope (1969, 10 min) Apertura (1970, 6 min) Aphrodisiac I (1971, 6 min)Aphrodisiac II (1972, 6 min) Ian Hugo: Engraver and Filmmaker (1972, 7 min) Transmigration (1973, 6 min) Transcending (1974, 16 min) Luminescence (1977, 9 min) Reborn (1979, 9 min). Falmouth University ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Contested Bodies
Contested Bodies Murdoch House Redruth Cornwall UK 19th June 6.30pm Programmed by Jo Millett and Rob Gawthrop for Gaslighting, an exhibition and programme of events at CMR Gallery in conjunction with the West Cornwall Freedom from Torture supporters group. Contested Bodies is a programme of short works which include both contemporary and historical artists’ films and video that focus on the question of the body as a contested cultural site for control and spectatorship. How can images pertaining to or referencing torture be presented without being voyeuristic or making an audience complicit? Artists have often used their own bodies as sites of experimentation and inquiry, making films and videos that are not always easy to watch. In Desert Storm artist Grace Ndiritu addresses rape as a tool of war, in an uncomfortable and at times intimate video. Mona Hatoum’s work, So Much I Want to Say shows a female face whose mouth is covered by male hands, a voice speaks the title, repeatedly. In her Eyes Skinned, a knife scratches at the eyes of a hooded face, with images of torture projected intermittently on it. In Quarantine, Gina Czarnecki challenges the viewers’ reading of pain, pleasure endurance and torture, through the repetitive movements of a dancer. in Sine, Gillian Dyson outlines the territory of a gallery through licking the wall, etching a line to mark a bodily and spatial limit. Both works by Fiona Leus Lambert prompt questions of empathy, through the human face. In Crying, a woman silently cries in front of the camera and in Faces from Hadamar, a series of still photographs of victims of the Nazi euthanasia programme slowly pass by. Thanks to the artists and Lux for their support. http://gaslightingfft.tumblr.com/ http://gaslightingfft.tumblr.com/ [Falmouth University] http://www.falmouth.ac.uk/ [Follow us] [Facebook] https://www.facebook.com/falmouthuni [Twitter] http://twitter.com/falmouthuni [Youtube] http://www.youtube.com/falmouthuniversity [Pintrest] http://pinterest.com/falmouthuni This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. inline: image6c5331.GIFinline: imagea98a40.GIFinline: image9a1cb0.GIFinline: imageea69cf.GIFinline: imaged658bd.GIFinline: image2d4f27.GIF___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] new critical studies film course in car culture
An Interesting Story 1905 George Albert Smith On 19/12/2012 18:19, Adam Hyman a...@lafilmforum.org wrote: Those are the films I was thinking of: Explosion of a Motor Car also 1900 How It Feels To Be Run Over (1900) On 12/19/12 10:10 AM, Gawthrop, Rob rob.gawth...@falmouth.ac.uk wrote: And his Explosion of a Motor Car also 1900 Rob On 15/12/2012 05:18, Ryder White ryder.wh...@gmail.com wrote: How about How It Feels To Be Run Over (1900) by the Hepworth Manufacturing Co? Potentially the earliest film to feature an automobile (but I'm not putting that on the record). RW ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Crystal Palace Experimental Film and Video Festival - launched in New Haven CT!
Hi Liena To add to your contextual intro: James Broughton's The Pleasure Garden (1954) was made in the ruins of Crystal Palace (London) where, coincidently, I was brought up (the district not the ruins that is). Rob On 28/09/2012 06:21, Liena Vayzman liena_vayz...@hotmail.com wrote: Hello all, a few months back I posted a call for submissions here for the Crystal Palace: 1st ArtSpace Experimental Film and Video Festival that I started in New Haven CT. I'm pleased to say the fest will premiere on OCT. 5, playing til Oct. 22 with continual looped showings of 21 gems of experimental film and video. I'm doing a curator talk / special screening / artist QA with Bobby Abate on Oct. 18 at 7pm. All free and open to the public. Location: ArtSpace, 50 Orange St., New Haven CT. Theme is crystals, gems, and multiple facets, in a 21st century digital media transmutation on the 1851 Crystal Palace. Deleuze said that films are like crystals, n'est-ce pas? More info: http://artspacenh.org/ Press: as the Yale Daily News sez, it's the avant-garde, crystallizedhttp://www.yaledailynews.com/news/2012/sep/14/avant-garde-crystal ized/ Traveling program: kicks off on the left coast with screening at Krowswork in Oakland, California in December, ATA in San Francisco, now booking more sites worldwideContact: please get in touch if interested in hosting a screening of Crystal Palace by emailing liena_vayz...@hotmail.com. Thanks!CRYSTAL PALACE: 1ST ARTSPACE EXPERIMENTAL FILM AND VIDEO FESTIVAL21 gems of international film+video art screening continually Oct. 5-22, 2012 Plus nightly projections after dark outside the Crown St. window of ArtSpace Special screening with curator + artist talk: October 18, 7:00pmOrganized by Liena VayzmanCrystal-themed, crystallizing, and multi-faceted video art and experimental films in this festival take as points of departure the cultural, scientific, spiritual, and mathematical associations of crystals, gems, and glass. Like the original Crystal Palace plate-glass building, a marvel of engineering constructed by Joseph Paxton for the Great Exhibition of 1851 in London, ArtSpace's Crystal Palace illuminates and amazes with innovative digital and film art of our time. Crystal balls and handmade prisms, shamanic journeys and Indian salt mines, psychadelic Crystal Light drink mix and Victorian animation, mirrors on 16mm and windows on HD -- and even crystals grown on a celluloid filmstrip -- all glimmer on our magic screen. Total running time: 2 hours, continual loop. Participating Artists Works: Abigail Child (New York) - Peripeteia IIAlexander Stewart + White/Light (Chicago) - CrustsBobby Abate (Brooklyn) - GossipCade Bursell (Carbondale IL) - Salt LinesCara Levine (San Francisco) - It Ain¹t Me You¹re Looking ForEric Stewart (San Francisco) - StrataFilipe Rodrigues Afonso (Lisboa, Portugal) - Atracados/MooredJen Cohen (San Francisco) - Venus+XJessica Miller (San Francisco) - Polarity Convergence John Stone (New York) - Fearful SymmetryKathleen Quillian (Oakland) - Fin de Siecle Leigh Orpaz (Tel Aviv) - Ice Swan Michael Lasater (South Bend IN) - Crossing Berlin 1927Patrick Tarrant (London) - Everything is Everyday Rebecca Nijdowski (San Francisco) - from Black Sun seriesRKDB (Oakland) - Interdimensional Pew RoomShambhavi Kaul (Mumbai, India / Durham NC) - Scene 32Shana Moulton (Brooklyn) - Whispering Pines #8Suzy Poling / Pod Blotz (San Francisco) - Natural PowersThorsten Fleisch (Berlin) - Kosmos and Energie! ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Jeff Keen
Jeff Keen The Tanks at Tate Modern: 18 – 23 September 2012 10.00 – 18.00 (10.00 – 22.00 on 21 and 22 September) Live performance Friday 21 September 2012 at 20.00 Jeff Keen (1923-2012) was a pioneer of experimental film whose rapid-fire animations, multiple screen projections and raucous performances redefined multimedia art in Britain. This major installation for The Tanks at Tate Modern was conceived by Keen in response to the unique nature of the Tanks. Featuring a large, dioramic screen, the installation will demonstrate the spirit of Keen’s expanded cinema events, his early experiments in drawing, painting and animation, his fascination with surrealism and popular culture, and his radical development of multiple screen projection, cut-up soundtracks and unruly live action. A very special live performance in the Tanks on Friday 21 September at 20.00 will feature projections and live music and action performed by Keen’s daughter Stella Starr and a range of Keen’s collaborators, including Alan Baker, Chris Blackburn, Rob Gawthrop, Mike Movie and Jason Williams as ‘Silverhead’. Keen was a veteran of the Second World War, and his work powerfully evokes the violence, colour, speed and noise of the 20th century. He transformed cinema into a riotous collage of comics, drawings, B-movie posters, plastic toys, burning props and extravagant costumes. His early 8mm and 16mm films are built for speed, combining footage of Beat-era motifs – jazz, motorbikes and car culture – with experimental animations in which the achievements and atrocities of the 20th century seem to flash by within a few short, cacophonous seconds. A single frame could not contain the frenzied energy of Keen’s imagination, and by the mid-1960s he began to use multiple screens and live action in presentations of his work. Keen’s films and performances emerged from the 1960s counterculture and echo the climate of literary happenings and ‘bomb culture’ at Bob Cobbing’s Better Books in Charing Cross as well as Gustav Metzger http://www.tate.org.uk/artists/gustav-metzger ’s 1966 Destruction in Art Symposium. Recalling American underground films by Jack Smith, Ken Jacobs and Kenneth Anger, his work also resonates with Happenings, Fluxus and Viennese Actionism. Nothing stands still in his work, it is a constant process in which images and sounds evolve in quick succession through what Keen called ‘violently disconnected and overlapping patterns’ of destruction, creation and accumulation. Jeff Keen http://www.guardian.co.uk/artanddesign/2012/jun/24/jeff-keen passed away on 21 June 2012. The presentation of his work in the Tanks is dedicated to his visionary creative spirit. +++ Shoot the Wrx: Filmmaker Artist Jeff Keen 27 October 2012 – 25 February 2013 Brighton Museum Art Gallery Fine Art Gallery, Prints Drawings Gallery South Balcony Free admission A career-long retrospective of filmmaker and artist Jeff Keen (1923-2012), who was one of the great figures of the British post-war avant-garde. Keen's work embodies a wild spirit of anarchic play, a fascination with surrealism and dadaism, and a love of popular culture. His life-long commitment to Brighton Hove will be celebrated in this display featuring a selection of his films alongside his paintings, drawings, collage prints, assemblages and poetry. Best known as a filmmaker, people are only just discovering what a prolific artist Keen was - from the 1940’s right up to his death - and some of the artwork exhibited here is being shown for the first time! The Tate have recently acquired four of his early works for their collection stating he is a very important ‘missing link’ in art history. From a simple rural upbringing in Wiltshire and having served in WWII, Keen moved to Brighton and worked for Brighton Hove Parks and Gardens for several years. He spent most of his artistic career in the city and used the site as a major inspiration for his work. He ignored the hierarchies of the London arts scene and the wider world of avant-garde cinema in favour of a radical commitment to locality and intimate community. Keen’s work focuses lovingly on a close-knit circle of real and imaginary friends at work and at play in and around Brighton and Hove. Brighton’s Cine-City Film Festival and the Lighthouse Digital Culture Agency in Brighton will also be celebrating Jeff Keen this autumn. From the 18th to the 23rd of September, Tate Modern will feature a specially designed Jeff Keen Expanded Cinema installation (with tribute performance on Fri 21 Sept) as part of their opening programme for their new underground Oil Tank exhibition space. EVENTS: Shoot the Wrx: Talking Jeff Keen Saturday 17 November Brighton Museum £5, book in advance 1.30pm – 2.30pm Stella Keen, actor and assistant in many of Jeff Keen’s films, introduces her father’s life and work in a special talk and slideshow presentation. 3.30pm – 5pm A unique opportunity to hear
Re: [Frameworks] Exper film/ art MA in the UK?
Check UCA its the former Maidstone course which has now moved to Canterbury. I'd like to recommend the MA at Falmouth but we only have digital video sound. Rob _ Rob Gawthrop - Award Leader: MA Fine Art Contemporary Practice University College Falmouth (incorporating Dartington College of Arts) rob.gawth...@falmouth.ac.uk 01326 25 5883 On 10/09/2012 10:11, Veronica Ibarra veronicaiba...@yahoo.com wrote: Hi all! I make experimental films and am considering doing an MA somewhere in the UK. Any recommendations? I know Kingston does a experimental film MA. Of course there are plenty of fine art courses but I don't know which ones are better for that kind of work. I have a 1st class Fine Art (media) BA from the Slade. Thank you Veronica http://veronicaibarra.com/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Please help
You may be able to access things through cloudbusting: http://www.churchofpureart.tk/ Rob On 25/07/2012 14:38, David Tetzlaff djte...@gmail.com wrote: Dearest Brett: I can't sign anything right now, as my spirit is completely disengaged from corporeal body. I would be happy to sign something on my return, but alas, unless my minions collect enough money to construct the proper Orgone generator and fire it into my brain my return is hardly a sure thing, and I would NEVER want to make a promise I cannot keep. As for questions... What is life without them? I deplore the profane world of the merely commercial, but to use the word merely as metaphor, as a magickian I am in the question business, not the answer business. You'll probably ask me something like, 'didn't I think it was a little over the line to use a score created by a convicted murderer and Manson family member for Lucifer Rising' and I'll juts say it's beautiful music and I'm not in the thinking business, or one to make moral judgements of art, or something like that. So, as far as your research goes, just make up whatever you want, whatever you think I'd say, and it will probably be a better answer that what I would say anyway. Australia is awfully far away, and I don't know if your money works in America. So instead of sending cash, maybe you could just send a bottle of cologne? Just make sure it's in a brown wrapper, no return address, no fingerprints, etc. g'day! KA Hi David / Kenneth, Saw your ad on frameworks. I would be willing to send some money through, but would it be possible to get a signed photo or something from Ken in return? Even better, would it be possible to ask Kenneth a few questions? I am a scholar at the University of Sydney, Australia and I am researching the history and influence of the occult in and on Hollywood. If Kenneth would be interested in answering some questions regarding Jack Parsons, L. Ron Hubbard, Charles Manson and Forry Ackerman, I would be happy to renumerate him for his time. Let me know what you think. thanks. Regards, Brett Brett Garten 62 Cowper St Glebe NSW 2037 Australia 0433 436 787 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Experimental Science Films
This was theme was also discussed in 2010 - https://mailman-mail5.webfaction.com/pipermail/frameworks/2010-December/subj ect.html#2337 The 1998 Oberhausen Short Film festival's special programme Useful Images (curated by Fred Truniger) engaged with these issues in some depth. Full details are in the catalogue. Best Wishes Rob On 12/06/2012 21:18, Co-op c...@chicagofilmmakers.org wrote: Besides the work of Semiconductor and Telcosystems, are there other experimental science artists or films that take up astronomy, particle physics, or other scientific disciplines? Todd Lillethun Program Director Chicago Filmmakers 5243 N. Clark St. Chicago, IL 60640 773-293-1447 www.chicagofilmmakers.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. Unless it specifically states otherwise this email does not form part of a contract. Any views or opinions presented are solely those of the author and do not necessarily represent those of University College Falmouth. You should carry out your own virus check before opening any attachment. University College Falmouth accepts no liability for any loss or damage which may be caused by software viruses ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Destructive Film Practices pre-1962
The other Lettristes Maurice Lemaitre Guy Debord etc. Obviously Jeff Keen. Margaret Tait did a few experiements in the 50s and 60s. Rob On 05/06/2012 17:39, Madison Brookshire mbrooksh...@gmail.com wrote: Fellow Frameworkers, Does anyone have suggestions for films 1945-1962 that create film imagery in a destructive way? e.g. scratching, bleaching, hole punching, etc. I am thinking of works such as Isadore Isou's Venom and Eternity (1951), less of Len Lye's Free Radicals (1958). Suggestions of works later than '62, up to say 1966 are also welcome [i.e. Carolee Schneemann Fuses (1965)] Thank you in advance, Madison Brookshire Los Angeles ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. Unless it specifically states otherwise this email does not form part of a contract. Any views or opinions presented are solely those of the author and do not necessarily represent those of University College Falmouth. You should carry out your own virus check before opening any attachment. University College Falmouth accepts no liability for any loss or damage which may be caused by software viruses ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] humorous experimental films
Klipperty Klopp – Andrew Kotting Mad Love – Jeff Keen Edge – David Hall Tony Sinden This Surface - David Hall Tony Sinden Dresden Dynamo - Liz Rhodes (how can an abstract film be funny ?) Tribulation 99 – Craig Baldwin Towers Open Fire - Antony Balch, William S. Burroughs Entracte – Rene Claire World Peace Thru Free Trade - John Butler Rob. On 23/05/2012 03:56, C Colvin quirkys...@hotmail.com wrote: Framerworkers! I'd love to pick your brains. I'm interested to watch more ( learn more about) experimental films that are humorous. Either through physical comedy, sly wordplay/visual combinations, hilarious imagery or anything that has hit your funny bone... I'd love to hear your recommendations. I prefer shorts (less than 20min), but am equally excited about funny moments/scenes in feature length experimental works as well. Thanks so much! Connie Colvin ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. Unless it specifically states otherwise this email does not form part of a contract. Any views or opinions presented are solely those of the author and do not necessarily represent those of University College Falmouth. You should carry out your own virus check before opening any attachment. University College Falmouth accepts no liability for any loss or damage which may be caused by software viruses ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Elf 16mm projector
Bought a set from them recently, I’m sure it’s what you want and they despatch promptly. Rob On 18/05/2012 13:52, Kevin Timmins on-on...@hotmail.com wrote: Thanks! I'm located in the UK, ideally it would be great to find some from around here. I found this: http://www.ebay.co.uk/itm/ELF-16mm-Cine-Projector-4-Drive-Belt-Set-Motor-Rewind-Both-Spool-Arm-Belts-/150808145860?pt=UK_Photography_VintagePhotography_VintagePhotoAccessorieshash=item231cddafc4#ht_1802wt_1026 Are these all the belts I need? Best Kevin Date: Fri, 18 May 2012 05:33:45 -0700 From: i...@40frames.org To: frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] Elf 16mm projector You're missing the round shutter pulley belt. The two grooves in the pulley is to switch film speed or 50/60 Hz. From the state of the main drive belt, I'd replace that as well. You mind as well replace all belts with a whole new set, including the feed and take-up. Where are you located? Richard Pattchetts has a large collection of new-old-stock Eiki belts. He is located in Michigan USA. http://www.16mmdirectory.org/search?q=patchetts Alain On Fri, May 18, 2012 at 4:09 AM, Kevin Timmins on-on...@hotmail.com wrote: Hi Frameworks, I purchased an Elf projector some time ago and I discovered that it was missing some belts (two I think). Here is a link to some pictures: http://www.flickr.com/photos/73172807@N06/?uploaded=2magic_cookie=4bf21de9f77e9f1a52dbdb154e759a2b http://www.flickr.com/photos/73172807%40N06/?uploaded=2magic_cookie=4bf21de9f77e9f1a52dbdb154e759a2b Can anyone tell me what belts I need to find/ where to get them. All the best and thanks in advance! Kevin ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. Unless it specifically states otherwise this email does not form part of a contract. Any views or opinions presented are solely those of the author and do not necessarily represent those of University College Falmouth. You should carry out your own virus check before opening any attachment. University College Falmouth accepts no liability for any loss or damage which may be caused by software viruses ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Value systems
The point I was making in my question followed on from Fred’s posting that included: It seems to be entirely acceptable and unquestioned on this list to post that some or all forms of video projection look like crap ... As a format for presenting film, it is, of course, imperfect, as I myself argued almost three decades ago, though that was in the days of VHS, a lot worse than more recent formats. Assumptions about ‘quality’ need to be challenged. Issues around ‘quality’ are based upon value systems which in themselves operate ideologically. Can the politics be seperated from the aesthetics? This seems entirely relevent as we watch evictions of the Occupations - and that doesn’t mean I’m advocating literalism - just putting my original question into context. Rob On 20/11/2011 16:47, Bernard Roddy rodd...@yahoo.com wrote: Oh and . . this encounter with a provocative work tends to draw ALL attention to it AS provocation, to the detriment of the work. That's the real price of a restrictive environment. It' s not just a price paid in terms of the interest new work generates. It's certainly not just a question of having some kind of political impact. The greatest price is that of interpretation. You get really dumb fixations on work if there isn't a serious investigation of what gets passed off as provocation. Bernie From: Bernard Roddy rodd...@yahoo.com To: frameworks@jonasmekasfilms.com frameworks@jonasmekasfilms.com Sent: Sunday, November 20, 2011 8:06 AM Subject: [Frameworks] Value systems Value as a reference today strikes me as dated. It draws on a period when art as commodity was an interesting question. Restrictions on freedom of expression are back. It's time to examine the renewal of conservativism in media art. To propose a term for critical study: professional responsibility. Not the debate between modernist and post-modernist experimental film. Not the relevance of avant-garde. Performance art's history is really to the point. We see a transformation of performance art's provocations into not only gallery-safe work but a kind of artistic administrator's ideal. Apologies for the obscurity. Bernie ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. Unless it specifically states otherwise this email does not form part of a contract. Any views or opinions presented are solely those of the author and do not necessarily represent those of University College Falmouth. You should carry out your own virus check before opening any attachment. University College Falmouth accepts no liability for any loss or damage which may be caused by software viruses ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Value systems
I wonder whether there are some issues that need teasing out regarding 'quality' or 'production values' and what these are really about? Is it particularities, peculiarities and specificities that need consideration rather than assumed notions around image resolution, depiction (mimesis)? Is it the 'poornessness' of early b/w video that is of interest rather than its inability to produce a convincing window on the world? The analogy with music is perhaps not so much about live or recorded but about what it is that is being listened to? The amount written recently around noise is pertinent to issues around 'quality' and not just restricted to music. So what are the value systems operating around experimental / artists film video? Best Wishes Rob On 17/11/2011 23:06, Fred Camper f...@fredcamper.com wrote: Quoting carli...@aol.com: I also think that this look appeal-thing is like wanting to buy a blow-up doll as a substitute for a girlfriend. I really don't want to restart the film/video thing, but feel the need to make a couple of observations. It seems to be entirely acceptable and unquestioned on this list to post that some or all forms of video projection look like crap, as the analogy above, film=live girlfriend and video=blow-up doll, confirms. Praise of video's own unique possibilities, many of which are different from film and can produce results that film cannot, seems almost entirely absent. As a format for presenting film, it is, of course, imperfect, as I myself argued almost three decades ago, though that was in the days of VHS, a lot worse than more recent formats. But we need to remember that film is not a girlfriend. It is a strip of plastic with a bunch of chemicals, not a lot more substantial than digital formats, and almost as alienated from actual human presences. The pseudo mystical statements with words like never strike me as not substantiatable. We cannot predict what future technology will come up with. To the film critic who once defined a great film as time spent with people one likes that one wishes would never end, I would reply, if you want a real person, go out and spend time with one! One analogy one might consider is to a live concert of classical music versus a recording. The difference there is huger than between film and high quality video, and some people I respect, John Cage and Peter Kubelka to name two, got/get pleasure out of recordings. Yet I can, and many times a good recording is preferable to me, and more musical, than a bad performance. I once heard one of my heroes, Ton Koopman, live, leading his group in some Bach cantatas. I have all his recordings of these. Yet, yet, yet, the acoustics in the hall were so poor, much was lost, and in the end I got more pleasure from the recordings. Yet of course a recording can never replace, or be the same as, a concert with live performers. But recordings are invaluable for many reasons, not the least that they permit multiple listenings. VHS wrecked the aesthetic of many, if not most, films. There are perhaps some films whose aesthetic will be mostly or totally lost even in 4K projection. I suspect they are very few compared to the films destroyed on VHS or even on DVD. A small or even medium-sized loss is not a ruination. I hope those who want to work with film will keep it alive in various ways. And I don't want to lose film, certainly not for preservation of films, and will still always prefer it for films shot on film. But we have little influence over what happens on the industrial scale, and while we should do what we can, a group of our size and influence is not going to stop time. In the end, no one can. Fred Camper Chicago ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listi nfo/frameworks This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. Unless it specifically states otherwise this email does not form part of a contract. Any views or opinions presented are solely those of the author and do not necessarily represent those of University College Falmouth. You should carry out your own virus check before opening any attachment. University College Falmouth accepts no liability for any loss or damage which may be caused by software viruses ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16:9 vs 4:3
What frame ratio do people think is best for a painting and should it be cropped later to fit the ready-made picture-frame? Rob On 21/10/2011 09:50, Freya freya...@yahoo.com wrote: It's because there were no cars back then so the people who were allergic to horses had to walk really fast to make up for all the lost time in their lives. I might start trying it myself! :) love Freya --- On Thu, 10/20/11, Tom Whiteside tom.whites...@duke.edu wrote: From: Tom Whiteside tom.whites...@duke.edu Subject: Re: [Frameworks] 16:9 vs 4:3 To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Date: Thursday, October 20, 2011, 6:28 PM Of course I meant to say “early 20th century” (and late 19th)…. We actually don’t have a record of how fast people walked early 19th century… - Tom – did you know that in the early 19th century people walked down the street really really fast -Inline Attachment Follows- ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com /mc/compose?to=FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks This email is confidential and intended solely for the use of the intended recipient only. If you have received this email in error, please inform us immediately and then delete it. Unless it specifically states otherwise this email does not form part of a contract. Any views or opinions presented are solely those of the author and do not necessarily represent those of University College Falmouth. You should carry out your own virus check before opening any attachment. University College Falmouth accepts no liability for any loss or damage which may be caused by software viruses ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
